The X-E3 is designed for photo enthusiasts who want a compact and portable camera that provides all the necessary shooting controls but can also connect with a smart device for image sharing and remote operation.
It has a mainly magnesium alloy body with aluminium dials and a rangefinder-like styling. The touch-screen monitor and AF joystick work well with the camera’s 325-point Hybrid AF system and lets you position the AF point or focus zone virtually anywhere within the image frame.
This camera will attract raw shooters who want sophisticated controls in a compact camera body that doesn’t compromise on performance and build quality. Its pared-down user interface will appeal to traditionalists and serious photographers who require a camera that is responsive and easy to configure.
Fujifilm’s X-E3 camera, which was announced on 7 September, is a lighter, more compact alternative to the X-T20, with which it shares many features. The X-E3 has a fixed monitor, whereas the X-T20’s monitor tilts up and down. The built-in GN 7 flash on the X-T20 (and the earlier X-E2) is replaced by a separate clip-on flash that is slightly more powerful. More importantly, the X-E3 is the first X-series camera with a low-power Bluetooth connection for interfacing the camera to a smartphone.
Angled front view of the X-E3 camera with the Fujinon XF 23mm f/2 lens used for our review. (Source: Fujifilm.)
An update to the X-E2, which we reviewed in December 2013, the X-E3 provides a significant increase in resolution plus a new processor, improved autofocusing, faster continuous shooting speeds plus a larger buffer memory and support for 4K video recording with frame rates of up to 30 fps. Fujifilm has launched the X-E3 in Australia with a Fujinon XF 23mm f/2 lens for an RRP of AU$1799. This is the kit we received for our review.
Who’s it For?
Like the X-T20, the X-E3 is designed for photo enthusiasts who want a compact and portable camera that provides all the necessary shooting controls but can also connect with a smart device for image sharing and remote operation. While the X-T20 makes a nice entry point to the Fujifilm system for photographers who like its SLR-like styling, the X-E3 will be more attractive to those who prefer the rangefinder form factor.
Like its sibling (and predecessor), the X-E3 has a mainly magnesium alloy body with aluminium dials but its styling is rangefinder-like in contrast to the X-T20’s SLR-style viewfinder housing. Neither model has weatherproof sealing or locks on any dials.
The X-E3 is more dependent on its touch-screen monitor and it gains the AF joystick that was introduced on the X-Pro2. This works well with the camera’s 325-point Hybrid AF system and lets you position the AF point or focus zone virtually anywhere within the image frame. But it lacks the X-Pro2’s four-way controller (arrow pad) so users are faced with more menu diving, although the Quick menu button, which is similar to the one on the X-E2, provides reasonably fast to some functions.
Neither the X-E3 nor the X-T20 has the X-Pro2’s hybrid viewfinder, which lets users switch between electronic and optical viewing, the latter with appropriate frame lines for the lens attached. However, both provide speedy start-up times combined with fast autofocusing. They also share the same OLED EVFs with 2,360,000-dot resolution plus decent eye relief and dioptre adjustments.
Buyers of this camera will be primarily raw shooters who want sophisticated controls in a compact camera body that doesn’t compromise on performance and build quality. Its pared-down user interface will appeal to traditionalists and serious photographers who require a camera that is responsive and easy to configure.
Newcomers to the Fujifilm X-mount system will be able to choose between the kit we received for our review and a kit with the XF 18-55mm f/2.8-4.0 OIS lens, which is expected to sell for the same price. The camera will also be available as a body alone for existing owners of Fujifilm’s XF lenses.
Low-power Bluetooth is the big news here; the X-E3 is Fujifilm’s first mirrorless camera to include it. It makes a nice addition to the Wi-Fi capabilities shared with the X-T20, enabling users to maintain a connection with a smart device to which the camera can transfer images automatically while shooting, without depleting the battery, thanks to the lower power requirements of the Bluetooth technology.
The AF joystick on the rear panel, which is similar to the one on the X-Pro2, is another important addition. It’s easy to keep your thumb tip on this little knob while looking through the viewfinder and it makes focusing on a specific part of the scene quick and easy.
A new Store AF by Orientation function in the X-E3 enables users to will store different positions for the focus area depending on the orientation of the camera. Options in the AF/MF Settings menu allow users to choose whether to simply store the focus area or separately store the focus area and the focus mode.
The touch controls on the X-E3’s monitor support the traditional tap, swipe, pinch in, spread, drag and double-tap gestures. Touch controls can be used for selecting the point of focus, triggering the shutter and scrolling through shots in playback mode. You can also use touch controls with the Q Menu.
A new Touch Function setting lets users assign functions to the following flick gestures in much the same way as they would for function buttons: flick up: T-Fn1, flick left: T-Fn2, flick right: T-Fn3, flick down: T-Fn4. Whether the improved touch controls can replace the traditional arrow pad remains open for debate.
Fujifilm has removed the built-in pop-up flash found in the X-E2 and replaced it with a separate EF-X8 unit, which is a bit like the ones found with the Olympus OM-D cameras. The ancillary flash clips onto a hot shoe which also accepts more powerful flashguns.
The flash is a little more powerful than the one in the X-T20, although both cameras share a maximum sync speed of 1/180 second. It’s a good solution when you want to reduce overall weight a little since many of the potential purchasers of this camera might seldom require an on-board flash.
The camera includes a TTL-Lock mode that locks the flash at the metered value for the previous exposure and is useful when you want consistent exposures across a sequence of flash shots. The supplied flash can also be used as a master trigger for a group of off-camera flash units.
Three low-ISO extensions (ISO 100, 125 and 160) and two high-ISO extensions (ISO 25600 and 51200) have been added to the native ISO 200-12800 range, providing greater exposure flexibility for photographers. It is important to remember, however, that these extensions may result in a reduced dynamic range at the low end and visible image noise with the two high settings.
The X-E3 also supports a very wide range of exposure times, depending on the selected shooting mode and whether the mechanical or electronic shutter is used. With the mechanical shutter, the briefest shutter speed is 1/4000 second in all shooting modes. The longest exposure is 15 minutes in the S and M modes or up to 60 minutes for a Bulb exposure.
When the electronic shutter is selected, the shortest exposure is 1/3200 seconds, with up to four seconds available in P mode, 30 seconds in A mode and 15 minutes in the S and M modes. Bulb exposures are limited to one second.
For bracketing, the X-E3 can record up to nine frames across a range of +/-3EV, providing a decent amount of flexibility for HDR capture. The camera also supports Film Simulation , Dynamic Range, ISO and White Balance bracketing.
Like most other recently-released enthusiasts’ cameras, the X-E3 can record 4K (3840 x 2160 pixels) at 29.97 fps (NTSC) or 25 fps (PAL) with a bit rate of 100Mbps for about 10 minutes. It also offers Full HD recording at 59.94p (NTSC) or 50p (PAL) at 36Mbps for up to 15 minutes as well as HD with similar frame rates at 18Mbps for up to 30 minutes. Soundtracks are recorded in stereo.
Build and Ergonomics
Many of the physical aspects of X-E3 have barely changed since the X-E2, although some are radically different. On the front panel, the grip moulding has lost its dented curve and now curves smoothly, narrowing from the base to just below the front dial, which is a new addition. The AF-assist/self-timer LED has moved up to just above the lens mount.
Front views of the X-E3 (top) and X-E2 (below) bodies without a lens. (Source: Fujifilm.)
The top panel has also undergone minor changes, the most significant being the removal of the built-in flash, which has led to the hot-shoe being shifted to the left so it’s just above the lens axis in the X-E3. A new auto mode selection lever for swapping between the auto and manual shooting modes has been added below the shutter speed dial. The Fn button on the new camera is also smaller.
Top views of the X-E3 (top) and X-E2 (below) bodies without a lens. (Source: Fujifilm.)
Extensive changes have also occurred on the rear panel, with the removal of the arrow pad and the re-positioning of most of the remaining buttons. The View Mode, Drive/Delete and AE-L buttons are now above the LCD monitor, while the Menu/OK, Disp./Back and Playback buttons line up below the new AF joystick to the right of the screen.
Rear views of the X-E3 (top) and X-E2 (below) bodies. (Source: Fujifilm.)
The AF-L and AE-L buttons have been shifted, with AF-L button located just above the Quick menu button on the thumb rest and the AE-L button just above the top right corner of the monitor screen. The Macro and Fn2 buttons have been eliminated.
The NP-W126S battery and memory card still share a compartment in the base of the camera and there’s only one SD card slot. It’s a pretty tight fit and the card slot is very close to the hinge, which can make the card difficult to extract. As in the X-E2, the metal-lined tripod socket is displaced from the optical axis of the lens.
Sensor and Image Processing
The 24.3-megapixel APS-C sized X-Trans CMOS III sensor is the same chip as used in the X-T20, X-T2 and XPro2 and features a colour filter array with a highly randomised pixel arrangement, eliminating the need for an optical low-pass filter (OLPF). We’ve provided details of the image file sizes and aspect ratio settings in our review of the XPro2, which was published in February 2016.
Fujifilm has increased the number of embedded phase detection pixels on the sensor from 169 to 325 (the same as in the X-T2) and they cover 50% of the chip side-to-side and 75% top to bottom. Users can choose between 91 or 325 focus points.
The sensor is partnered with an X-Processor Pro image processing engine that claims to provide roughly four times the processing speed of previous processors, including the EXR II processor chip in the XPro2. Together, the sensor and processor enable the X-E3 to offer 4K movie recording. In addition, ACROS has been added to the Film Simulation modes, which are available for both stills and 4K video.
The X-Processor Pro also reduces shooting intervals, shutter release time lag and blackout time, as well as improving AF accuracy and the number of continuous frames possible in the burst mode. The AF algorithm in the X-E3 has been updated to make it the fastest camera Fujifilm produces. The company plans to update the AF systems on the X-T2 and X-Pro2 via firmware upgrades before the end of the year. No announcement has been made with respect to the X-T20’s AF system so far.
The X-E3 supports the same basic movie settings as the X-T2, which introduced 4K movie recording to the X-series camera range. Details can be found in our review of that camera. However, even though it allows movie clips to be exported to a connected HDMI recorder, it doesn’t appear to provide access to the low gamma and wide gamut colour space offered in the X-T2.
Like the X-T2, the X-E3 includes an interval timer for shooting time-lapse sequences, with selectable intervals from one second up to 24 hours supported for as long as the battery and memory card can accommodate shots. Multiple exposures can also recorded via the drive dial, although the superimposition limit is two shots. The drive button can also access a Panorama setting as well as the bracketing options.
Wi-Fi integration is similar to the X-Pro2‘s and outlined in our review of that camera. NFC is not supported, but Bluetooth version 4.0 (aka Bluetooth Low Energy) is, enabling the camera to be paired with smartphones and tablets (Android and iOS are supported).
Playback and Software
Fujifilm doesn’t supply bundled software with the camera but links are provided on pages 298 and 299 of the printed manual to the very basic MyFinePix Studio and Raw File Converter EX 2.0, which is likely to be still based on Silkypix technology. You don’t need MyFinePix Studio if you have a preferred editor since image and movie files from the camera can be imported into Windows and Mac computers without it.
Silkypix is slow and quirky and we’ve demonstrated more than once that it doesn’t extract the best results from Fujifilm’s RAF.RAW files so we won’t use it any more. Fortunately, raw files from the X-E3 can be opened in Adobe Camera Raw, our preferred raw file converter.
There are also links to Fujifilm’s Camera Remote software for setting up a Wi-Fi connection between the camera and a smart device as well as to Fujifilm PC Autosave for downloading image files over wireless networks.
Imatest showed the review camera with the Fujinon XF 23mm f/2 R WR lens to be a good partnership and resolution was able to exceed expectations for the camera’s 24-megapixel sensor with JPEG files, albeit only in the centre of the frame. RAF.RAW files from the camera converted into 16-bit TIFF format with Adobe Camera Raw, our preferred raw file converter, exceeded expectations by a comfortable margin in both the centre and towards the periphery of the frame. The graph below shows the results of our Imatest testing.
Low light performance was slightly better than the X-T20’s with little in the way of noise up to ISO 6400, where the first signs of image softening were just detectable. There was a slight deterioration in sharpness at the two highest settings but even shots taken at ISO 51200 produced acceptable prints at A5 size. As in the X-T20, exposure levels remained constant throughout the camera’s sensitivity range and colour saturation and accuracy remained constant throughout.
Flash exposures were reasonably consistent, although we found slight under-exposure in the tree settings below ISO 200. From ISO 200, shots were evenly exposed and retained their colour saturation and accuracy to about ISO 6400, where the influence of artificial lighting began to over-ride the flash. By ISO 12800 there was a slight loss of contrast, which continued to ISO 51200, where images became a little flat.
White balance performance was similar to the results we obtained from the X-T20, which isn’t surprising since both cameras have the same presets and adjustments for correcting colour casts before shooting. The auto setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast from incandescent lighting.
There are no presets for flash or LED lighting but the tungsten and various fluorescent pre-sets slightly over-corrected the respective colour casts introducing a purple bias for the former and also for the daylight fluorescent setting. Flash exposures had close to neutral colours in auto mode so no correction was needed. Manual measurement produced neutral colour rendition with the other three types of lighting.
Autofocusing performance was remarkably fast, even when compared with the results we obtained with the X-T20. It was also less inclined to slow in low light levels and with low-contrast subjects. One of the sample shots below shows a single exposure taken at f/2, just as a bird took flight, to give an example of the system’s speed and accuracy with the 23mm f/2 lens.
The X-E3’s performance in movie mode was better than the X-T20’s but still fell a little short of expectations. The AF system appeared able to keep track of moving subjects and pick up new subjects as they entered the frame. But the camera’s exposure system could be slow to react to changing conditions and tended to favour shadowed areas, leaving highlights to become over-exposed. The auto dynamic range often prioritised low contrast, which amplified the problem.
There were fewer glitches in the footage we recorded and the small number of times where unsharpness interrupted a clip were largely attributable to operator error (camera and/or shooter movement). Audio quality was much the same as we found with the X-T20 and generally good, given the small size of the camera’s microphones.
Like the X-T20, the X-E3 has no wind suppression filter, although it includes a setting for adjusting the recording level of an external microphone. Without a compatible external microphone we were unable to test this function.
We carried out our timing tests with a 16GB Panasonic SDHC UHS-1 U3 card which has a maximum write speed of 90 MB/second and is fast enough to support 4K movie recording. The review camera took just under a second to both power-up and shut down. We measured an average capture lag of 0.1 seconds, which was eliminated with pre-focusing.
Measuring shot-to-shot times is tricky because if you press the shutter too quickly the camera will stop responding and, even if you slow to a moderate pace, a second press that comes too soon will be ignored. At our best estimate, average shot-to-shot times were around averaged 0.55 seconds. Going by the indicator light on the rear panel, it took 0.8 seconds on average to process each JPEG file and 1.6 seconds for each RAF.RAW file and 1.7 seconds for each RAW+JPEG pair. The bundled flash had an average recycling time of 5.25 seconds.
Using the continuous high-speed shooting mode with the mechanical shutter and focus and exposure fixed on the first shot, the review camera recorded 47 high-resolution JPEGs in 5.6 seconds without slowing, which is very close to the specified maximum rate of eight frames/second. It took just over 8 seconds to process this burst.
The capture rate began to slow once the camera had recorded 21 uncompressed RAF.RAW files, which were captured in 2.6 seconds in the continuous high mode. Processing time for this burst was 23.3 seconds. Recording also paused after 21 RAW+JPEG frames, which were captured in 2.9 seconds. It took 23.8 seconds to process this burst.
With the electronic shutter, the review camera recorded 34 high-resolution JPEGs in 2.5 seconds before slowing, which is close to the specified maximum of 14 fps. It took 14.6 seconds to clear the buffer memory. Swapping to RAW+JPEG capture, the camera paused after 20 frames, which were recorded in 1.52 seconds. It took 15.4 seconds to clear the buffer memory.
As mentioned above, buyers of Fujifilm’s mirrorless cameras have a choice between two quite similar models, the X-E3 and the X-T20, which are similarly priced. Currently, the main advantage of the X-E3 is its faster, more up-to-date AF system, which is definitely superior to the X-T20’s.
Otherwise, it’s largely a matter of which body styling you prefer and whether you can live with the reduction in external controls and greater reliance on touch-screen gestures in the X-E3. The AF joystick on the X-E3 also gives it an advantage over the X-T20 for photographers who like having a quick way to select AF points or areas precisely.
The X-T20 has been on sale for longer than the X-E3 so discounting is already well established. However, Fujifilm cameras tend to hold their value well so you may have to search hard for bargains.
Prices for the X-E3 tend to be slightly cheaper than the X-T20 prices, although with either camera body, buying a kit with a lens included always represents a good deal. Fujifilm Australia has some attractive cashback offers running at present to tempt potential purchasers.
A survey of online prices offered by local re-sellers shows buyers can expect to pay between AU$1100 and AU$1200 for the X-E3 body and AU$1600 and AU$1700 for either of the kits. Offshore re-seller, B&H, has the camera body for US$899.95 (AU$1156.89) and the kits for US$1,149.95 (AU$1,478.26). To those prices you’ll need to add between $49.50 and $59.15 AUD to cover shipping plus $194.63 or $220.38 AUD, respectively in tax (GST), which will take you well above the best local prices.
Image sensor: 23.5 x 15.6 mm X-Trans CMOS II sensor with 24.3 megapixels effective
Image processor: X-Processor Pro2
A/D processing: 14-bit RAW
Lens mount: Fujifilm X mount
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (Exif Ver.2.3), RAF.RAW, RAW+JPEG; Movies: MOV (MPEG-4 AVC / H.264, Audio : Linear PCM / Stereo sound 48KHz sampling)
Image Sizes: Stills ““ 3:2 aspect: 6000 x 4000, 4240 x 2832, 3008 x 2000; 16:9 aspect: 6000 x 3376, 4240 x 2384, 3008 x 1688; 1:1 aspect: 4000 x 4000, 2832 x 2832, 2000 x 2000; Panorama: L: 2160 x 9600 (Horizontal : 9600 x 1440), M: 2160 x 6400 (Horizontal : 6400 x 1440); Movies: 4K [3840 x 2160] 29.97p / 25p / 24p / 23.98p at 100Mbps for up to approx. 10 min.; Full HD [1920 x 1080] 59.94p / 50p / 29.97p / 25p / 24p / 23.98p at 36Mbps for up to approx. 15 min.; HD [1280 x 720] 59.94p / 50p / 29.97p / 25p / 24p / 23.98p at 18Mbps for up to approx. 30 min.
Image Stabilisation: Lens based
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal Plane Shutter with mechanical and electronic modes; Mechanical shutter: 30 sec. to 1/4000 sec. plus Bulb to 60 min., Electronic shutter: 15 min. to 1/32000 sec. plus Bulb to 1sec. (depends on shooting mode); Flash synch at 1/180 sec. or slower
Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing: 2 / 3 / 5 / 7 / 9 frames with +/-1/3EV, +/-3EV in 1/3EV steps
Other bracketing options: Film Simulation Bracketing [Any 3 types of film simulation selectable], Dynamic Range Bracketing [100%, 200%, 400%], ISO Bracketing, White Balance Bracketing
Self-timer: 2 or 10 seconds delay
Intervalometer: Yes (Setting : Interval, Number of shots, Starting time)
Focus system: 325-point Intelligent Hybrid AF [TTL contrast AF / TTL phase detection AF], with single-point, zone and wide/tracking (up to 18 areas) selection
Focus modes: Single AF, Continuous AF, MF
AF frame selection: Single point AF: EVF / LCD: 13×7 / 25×13 (Changeable size of AF frame among 5 types), Zone AF: 3×3 / 5×5 / 7×7 from 91 areas on 13×7 grid, Wide/Tracking AF: (up to 18 areas)
Exposure metering: 256-segment TTL metering with Multi-zone, Centre-weighted, Average and Spot metering patterns
Shooting modes: P (Program AE), A (Aperture Priority AE), S (Shutter Speed Priority AE) and M (Manual Exposure)
Special functions: Advanced SR AUTO, Highlight tone, Shadow tone, Colour, Sharpness, Noise reduction, Long exposure NR, Lens Modulation Optimizer, Colour Space, Pixel mapping, Select custom setting, Edit/Save custom setting, Min. shutter speed, AF-C Custom settings, Store AF mode by orientation, Pre-AF, Face/Eye detection AF, AF+MF, Focus check, Focus peak highlight, Digital Split Image, Interlock spot AE & Focus area, Instant AF setting(AF-S/AF-C), Depth-of-field scale, Release/Focus priority, Touch screen mode, Mount adapter setting, Red eye removal, Movie AF mode, RGB Histogram, Highlight alert, Electronic level, Preview depth of field, AE LOCK, AF LOCK, AF-ON, Multiple exposure
Film Simulation modes: PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, CLASSIC CHROME, PRO Neg.Hi, PRO Neg.Std, Black& White, Black& White+Ye Filter, Black& White+R Filter, Black& White+GFilter, Sepia, ACROS, ACROS+Ye Filter, ACROSï¼‹R Filter, ACROSï¼‹G Filter
Advanced filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
Colour space options: Adobe RGB, sRGB
ISO range: Auto (ISO 200-12800), Manual: ISO 200 to ISO 12800 plus extensions to ISO 100, 125,160, 25600, 51200; ISO 200-12800 for movies
White balance: Automatic scene recognition / Custom / Colour temperature selection [K] / Preset : Daylight, Shade, Fluorescent light (x3), Incandescent light, Underwater
Flash: EF-X8 (Super Intelligent Flash) included; GN approx. 8 (ISO 100 · m) / approx. 11 (ISO 200 · m)
Flash modes: TTL Auto, Standard, Slow Synch (1st/2nd curtain), Manual, Commander, Off
Flash exposure adjustment:
Sequence shooting: Max. 14 frames/sec. with Electronic shutter (8 fps with mechanical shutter)
Buffer capacity: Max. 35 JPEG, 22 lossless compressed RAF.RAW, 21 uncompressed raw (at 14 fps)
Storage Media: SD, SDHC, SDXC cards (UHS-I compatible)
Viewfinder: 0.39-in. OLED colour EVF with 2,360,000 dots, 100% coverage, 17.5mm eyepoint, 0.62x magnification, -4 to _2 dpt adjustment, Built-in eye sensor
LCD monitor: 3.0-inch ouch screen colour LCD monitor with 1,040,000 dots, 3:2 aspect ratio. approx. 100% coverage
Live View modes: ouch Shooting, AF, Focus Area, OFF; Touch Function, EVF Touch Screen Area Settings (ALL, RIGHT, LEFT, OFF)
Playback functions: RAW conversion, Image rotate, Auto image rotate, Face Detection, Red-eye removal, Photobook assist, Erase selected frames, Multi-frame playback [with micro thumbnail], Slide show, Protect, Crop, Resize, Panorama, Favourites, Image Transfer Order
Interface terminals: Micro USB 2.0 (High-Speed), Type D HDMI connector, 2.5 mm 3-pole mini jack [microphone/remote release]
Wi-Fi function: IEEE 802.11b / g / n (standard wireless protocol) plus Bluetooth Ver 4.0 (Bluetooth low energy)
Power supply: NP-W126S rechargeable Li-ion Battery Pack; CIPA rated for approx. 350 shots/charge
Dimensions (wxhxd): 121.3 x 73.9 x 42.7 mm
Weight: Approx. 287 grams (body only); 337 grams with battery and memory card
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au
Based on JPEG files:
Based on RAF.RAW files converted with Adobe Camera Raw.
All images captured with the XF 23mm f/2 R WR kit lens
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
Auto white balance with flash lighting.
25-second exposure at ISO 100, f/2.
21-second exposure at ISO 200, f/2.8.
5-second exposure at ISO 1600, f/5.6.
3-second exposure at ISO 6400, f/5.6.
2-second exposure at ISO 12800, f/5.6.
1-second exposure at ISO 25600, f/5.6.
1-second exposure at ISO 51200, f/8.
Flash exposure at ISO 100, 1/34 second at f/2.
Flash exposure at ISO 200, 1/34 second at f/2.
Flash exposure at ISO 1600, 1/50 second at f/2.
Flash exposure at ISO 6400, 1/140 second at f/2.5.
Flash exposure at ISO 12800, 1/125 second at f/3.6.
Flash exposure at ISO 25600, 1/140 second at f/5.
Flash exposure at ISO 51200, 1/160 second at f/6.4.
3:2 aspect ratio; ISO 200, 1/1600 second at f/5.6.
16:9 aspect ratio; ISO 200, 1/640 second at f/8.
1:1 aspect ratio: ISO 200, 1/640 second at f/8.
Panorama mode; ISO 200, 1/240 second at f/14.
Moderate backlighting: ISO 400, 1/210 second at f/8.
ISO 200, 1/4000 second at f/2.
ISO 400, 1/420 second at f/8.
ISO 200, 1/600 second at f/8.
ISO 250, 1/900 second at f/5.6.
ISO 400, 1/600 second at f/8.
ISO 200, 1/125 second at f/7.1.
Vivid Film Simulation mode: ISO 400, 1/400 second at f/5.
ACROS Standard Film Simulation mode: ISO 200, 1/100 second at f/5.6.
Sepia Film Simulation mode: ISO 200, 1/1200 second at f/5.6.
Still frame from 4K (3840 x 2160pixels) video clip recorded at 60 fps.
Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 50 fps.
Still frame from Full HD video clip recorded at 25 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded at 50 fps.
Still frame from HD video clip recorded at 25 fps.
Additional image samples can be found with our review of the Fujinon XF 23mm f/2 R WR lens.
RRP: AU$1799; US$1149 (as reviewed with XF 23mm f/2 lens)
- Build: 8.9
- Ease of use: 8.8
- Autofocusing: 9.0
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 8.7