Fujifilm X-H1

      Photo Review 9

      In summary

      Fujifilm’s new X-Series flagship offers a more robust construction, improvements to the control layout and faster, more customisable and more accurate AF system, making the X-H1 a serious rival to high-end DSLR cameras. Price-wise, the X-H1 sits slightly above the equivalent APS-C models from Canon and Nikon, although we believe the Fujifilm camera will be superior in almost every way.

      Reduced battery capacity, a penalty imposed by having an EVF instead of an optical viewfinder, is the only function where we find the Fujifilm camera inferior ““ and that is addressed with the VPB-XHI grip. The camera itself is smaller, lighter and much easier to use for photographers who shoot video than any DSLR, regardless of sensor size or resolution.



      Full review

      Fujifilm’s X-H1 camera displaces the 19-month old X-T2   as the flagship model in the range.  Many features from the X-T2 carry over to the X-H1, including the 24.3-megapixel  X-Trans CMOS III sensor and X-Processor Pro processing chip. But the new camera has a tougher splash-resistant body, more extensive 4K movie capabilities and improved autofocusing algorithms as well as some minor tweaks to improve its capabilities.


       Angled front view of the X-H1 body, shown with the Vertical Power Boost Grip, which will be bundled with the camera for local release, and the XF 16-55mm f/2.8 R LM WR lens. (Source: Fujifilm.)

      In Australia, the camera will initially be offered in kit format, bundled with the Vertical Power Boost Grip. It is being sold as a body alone in other parts of the world. The X-H1 kit is scheduled for local release in early March 2018.

      We were allocated four days of hands-on time with the new camera kit in late February, just after the first units arrived. The camera was supplied with the Fujinon XF 35mm f/2 lens, which we reviewed in February 2016.  

      What’s New?
      The X-H1 (‘H’ for ‘Hybrid’) includes some significant new features, including a number of ‘firsts’ for an X-Series camera. The most significant is a new 5-axis sensor-shift stabilisation system which claims to provide up to 5.5 stops of shake-correction based on CIPA standards.


       The in-body image stabilisation (IBIS) mechanism in the X-H1 body. (Source: Fujifilm.)

      The system comprises a three-axis accelerometer, a three-axis gyro sensor and a dedicated dual processor plus fast linear drive, which carry out processing and correction adjustments approximately 10,000 times per second.  Corrections are based on five axes: up/down,  right/left, pitch/yaw angle and optical axis rotation.

      The five-axis stabilisation is available with all Fujifilm lenses, regardless of whether they include stabilisation. It also works with Zeiss lenses but is less effective with other third-party lenses fitted via the M mount adapter. The same applies when macro extension tubes are used. In both cases, 3-axis stabilisation is available.

      A new ‘feather-touch’ shutter button (see below) with a leaf spring mechanism is another feature contributing to overall stability. Fujifilm offers customised adjustments for this mechanism via designated service centres.


      The X-H1’s shutter mechanism with the four shock absorbers circled in white. (Source: Fujifilm.)

      In addition, the top plate of the camera’s shutter unit includes a suspension mechanism with four shock absorbers for counteracting any shock generated by the mechanical shutter, further enhancing the effect of image stabilisation. This mechanism also reduces shutter noise, making the shutter ‘super quiet’.

      The performance of the hybrid contrast /phase detection TTL autofocusing system has been improved, although it retains the same 325 total points and 91 zone focusing areas as the system in the X-T2. As in the X-T2, the phase detection AF area covers 50% (side to side) and 75% (top to bottom) of the frame. However, its range has been expanded by 1.5 stops from the X-T2’s 0.5EV to -1EV, while the minimum aperture supported has been increased from f/8 to f/11.

      Improved algorithms have improved the capability to track a moving subject and delivered faster response times when repeatedly re-focusing while using a zoom lens (a feature we were unable to test). Custom settings for the AF-C mode include adjustable parameters for situations like ignoring obstacles, tracking accelerating/decelerating subjects, quickly identifying subjects that suddenly come into the frame and keeping focus on erratically moving subjects.

      A new Focus Lever  joystick provides a quick way to select focus points, allowing adjustments in eight directions. It can be used to move the focus point while the photographer views the scene through the EVF. Alternatively, the AF point can be shifted with the photographer’s thumb via the monitor’s touch panel.

      Video recording capabilities are extensive for a camera that is also strongly stills-orientated. In this area, the addition of DCI 4K (4096 x 2160) video, along with   internal F-log recording makes the X-H1 the most professional video-equipped X-Series camera to date.

      When outputting4K video to an external recorder via the HDMI port chroma subsampling can be 4:2:2 with an 8-bit colour depth. Recording to an SD card reduces the chroma subsampling to   4:2:0 but retains the 8-bit colour depth.

      The X-H1 also supports consumer 4K recording at 3840 x 2160 pixels, ‘Full HD’ at 2048 x 1080 and 1920 x 1080 pixels and HD at 1280 x 720 pixels, all requiring cards with UHS Speed Class 3 or higher.   A special high-speed recording mode lets users record Full HD movie clips at up to 100 fps for slow-motion playback, with settings available for half-speed, 1/4 speed and 1/5 speed.

      While the continuous movie shooting time for X-H1 is 1.5x longer than X-T2, shooting 4K clips requires a lot of processing power, which generates heat. Although the X-H1 has a larger heat sink for releasing heat to the exterior of the camera, shooting times are restricted and the camera becomes quite warm after a few minutes’ recording.

      You can only record up to 15 minutes of 4096 x 2160 video, although you can choose from 200Mbps, 100Mbps or 50Mbps bit rates. A limit of 20 minutes applies to Full HD recording, when you choose between 100Mbps and 50Mbps. Opt for high-speed video and that drops to approximately six minutes.

      The camera also features a new  ‘ETERNA’ Film Simulation mode for video recording, which replicates an early cinema film, described as having ‘strong grain, gradual tone balance from highlight to shadow, distinctive black and white colour reproduction and beautiful skin tonality’.     This mode, which records in full colour, subtly subdues contrast and colour saturation. It can be used at 400% Dynamic Range (equivalent to approximately 12 stops) to encompass subjects with a wide brightness range and reduce the need for colour grading in post processing.

      Who’s it For?
       The X-H1 will appeal to anyone who was attracted to the X-T2 but wanted a tougher camera with greater video capabilities.  As well as the major items listed above, Fujifilm has introduced number of smaller changes that could make it more appealing than the X-T2.

      Internal adjustments include electronic first-curtain flash synchronisation, flicker detection and the addition of   low-power Bluetooth to the existing Wi-Fi functionality. Unfortunately, battery life still isn’t all that flash, with a limit of roughly 45 minutes per charge when recording movies.

      Without the bundled VPB-XHIVertical Power Boost Grip, the normal battery capacity is approximately 310 shots/charge with the LCD monitor or 300 shots/charge with the EVF. Movie times are extended from approximately 35 minutes to 45 minutes for 4K video recording, while Full HD recording times increase from 45 to 75 minutes.

      The inclusion of the VPB-XHI will give the camera greater appeal to sports and wildlife photographers because it dramatically extends shooting times. Two additional batteries in the grip, coupled with   a third battery in the body of the camera increase the maximum number of available shots in normal mode to approximately 900. The maximum period for shooting movies in 4K is increased to about 30 minutes.

      The VPB-XHI also makes it easier for photographers to swap between horizontal and vertical orientations by providing duplicated controls for the shutter release button, focus lever, AE-L button, AF-ON button, command dial, Q button and Fn button. In addition, the grip includes a DC-IN socket for direct recharging plus a headphone socket to enable sound to be monitored while recording video

      Build and Ergonomics
       The body of the X-H1 is larger than the X-T2 is all dimensions as well as being 170 grams heavier, in part because thicker magnesium alloy has been used to make it more robust. It is coated with a new scratch-resistant material with a rating equivalent to 8H surface hardness.

      The lens mount’s structure has been redesigned to make it stronger than other models in the X Series in advance of the impending release of larger and heavier lenses (such as the Fujinon XF 200mm f/2 R LM OIS WR, which is expected by Photokina in September). Like the X-T2 the X-H1 is dust- and moisture-resistant and also capable of working at temperatures as low as -10 °C.  


      Front view of the X-H1 with no lens fitted. (Source: Fujifilm.)

      The body design appears to be a mixture of traditional X-Series styling with features ported across from the medium format GFX camera. Two button controls are located on the front panel, the upper being a programmable function (Fn) button and the lower engaging the lens release.  Also on the front panel are the focus mode selector, an LED that doubles as an AF illuminator and self-timer lamp and a synch terminal for external flashguns.

      The new camera’s grip has been enlarged and is better suited to photographers with larger hands. It provides space for the new shutter button and surrounding power switch. The front control dial is semi-inset into its upper edge.
       The shutter button no longer contains a threading for a cable release, which was a standard feature on Fujifilm’s previous flagship models. For exposures longer than the one-second setting on the shutter speed dial, selecting the T (Time) setting lets you choose longer exposure times by rotating the rear command dial, which extends to a maximum of 15-minutes.

      In T mode, pressing the shutter button down triggers the exposure, while a second press stops it. For exposures longer than one second, a countdown timer is displayed on the screen. The B (Bulb) setting can handle exposures up to 60 minutes but requires a remote release to trigger and end the exposure.


       Top view of the X-H1 showing the redesigned control layout. (Source: Fujifilm.)

      A new dedicated exposure compensation button replaces the dial on the X-T2 and is used in combination with the control dial on the front of the grip. This button also duplicates the functions provided by the Fn1 button on the X-T2.

      The 1.28 inch data panel on the top deck of the X-H1 replaces the exposure compensation dial on the X-T2.  It’s a new addition to X-Series cameras but similar to the one on the GFX, displaying details of exposure settings, including exposure compensation and white balance. Shutter speed, exposure, ISO sensitivity and exposure compensation can be controlled with the front and rear dials alone when quick adjustments are required.

      The top panel also carries the standard shutter speed and stacked ISO/drive dials, which sit astride the EVF housing. The new EVF has higher resolution than the X-T2’s (3,690,000 dots vs 2,360,000 dots) but its magnification is slightly lower (0.75x vs 0.77x). It also claims a refresh rate of 100 fps and a display lag time of only 0.005 seconds. The EVF eyecup appears to be slightly larger.


      Rear view of the X-H1. (Source: Fujifilm.)

      The 3-inch, two-way tilting LCD monitor is the same as on the X-T2and supports touch controls. Fujifilm has re-jigged the touch functionality to enable users to select which parts of the screen are responsive to avoid accidental re-sets if your nose touches the screen, whichever eye you use. The screen can be used to select the AF point and move it, for example when pulling focus.

      A new Movie Silent Control mode enables users to adjust the camera’s controls without interfering with movie recording when the movie mode is selected. In playback mode, the standard swipe and pinch controls are available for scrolling through images and zooming in and out.

      Most of the control buttons are in the same positions, although the X-H1’s buttons are slightly larger. A new AF-ON button provides a quick switch to autofocusing when the camera has been set for manual focus.
       The Quick menu button has moved onto the thumb rest, which protrudes a little more than the X-T2’s. This makes the focus selection joystick more prominent and easier to locate and use when your eye is at the EVF. Below the Q button is an LED indicator that glows orange while files are being processed and blinks in green to provide a slow shutter speed warning.

      Like the X-T2, the X-H1 has dual slots for SD memory cards, which are located beneath a locking cover on the right hand side panel. The camera is compatible with the latest UHS-I and UHS-II standards.

      On the base plate you’ll find the battery compartment, which accepts the same NP-W126S rechargeable lithium-ion battery as the X-T2 . A metal-lined tripod socket is located in line with the optical axis of the lens next to an interface for the VPB-XH1 vertical power boost grip.  

      Sensor and Image Processing
       The X-H1   uses the same a 24.3-megapixel X-Trans CMOS III APS-C sensor and X-Processor Pro image processor as the X-T2. This sensor chip, which is also used in the X-T20, X-E3 and XPro2, features a colour filter array with a highly randomised pixel arrangement that eliminates the need for an optical low-pass filter. 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.

      The native ISO range is the same as the other cameras and ranges from ISO 200 to ISO 12,800,with extensions to ISO 100, 125 and 160 at the low end and ISO 25600 and ISO 51200   beyond the native range.

      Three continuous shooting speeds are available: high, medium and low. The top frame rates of 14 fps and 11 fps are only available with the electronic shutter, although 11 fps is possible with the mechanical shutter and the VPB-XH1 vertical power boost grip.  The medium speed has a frame rate of six fps, while the low setting ranges from five to three fps.

      According to the user manual, you can expect a buffer capacity of approximately 40 JPEGs, 27 losslessly-compressed RAF.RAW frames or 23 uncompressed raw images for the 14 fps frame rate. When using the mechanical shutter, buffer capacities can be extended to 59 JPEG frames at three fps.  

      Playback and Software
       Nothing much has changed since the X-Pro2 and X-T2.  No software was supplied with the review camera but the product support pages on Fujifilm’s website provide downloads for the proprietary applications. Fortunately, the latest version of Adobe Camera Raw will open RAF.RAW files from the X-H1 in Photoshop or Lightroom so you don’t have to use the problematic Silkypix software.  

       The X-H1 comes with the same bundled EF-X8 flashgun as supplied with the X-T2. It’s small and not very powerful, having a Guide number of 6.1 (m.ISO100) and weighs only 41 grams. It’s adequate for close subjects and can be used to trigger remote synced flash units in a studio set-up. Front- and rear-curtain sync are supported. The camera will also accept more powerful flashguns from Fujifilm and third-party manufacturers.

      An optional Wide Eye Cup for X Series and GFX cameras can be useful for reducing stray light interference during long shoots. It can be rotated in 90 ° increments, making it adaptable for either the left eye or the right eye and for shooting in either vertical or horizontal positions. Antistatic coating stops dust from sticking to its inner surface.

      The X-H1 is also compatible with Fujifilm’s X-Series interchangeable lenses, including several that will be released later in 2018. They include the MKX18-55mmT2.9 and MKX50-135mmT2.9 professional cinema lenses, which are due for release in June as well as the  XF200mm f/2 R LM OIS WR telephoto prime lens and XF8-16mm f/2.8 R WR wide-angle zoom lens, which are scheduled for late 2018.

       We tested the review camera with the Fujinon XF 35mm f/2 R WR lens, which we also used when reviewing the X-T20 and X-Pro2 cameras. JPEGs straight from the camera were sharp, colour-accurate and similar in quality to other cameras with Fujifilm’s X-Trans sensors.

      Subjectively, we found the camera’s colour reproduction to be true-to-life in with the default Provia/Standard setting. The other colour-retaining Film Simulation modes provided the expected, relatively subtle adjustments. The monochrome modes were also relatively subtle.

      Our Imatest testing showed the Standard Film Simulation mode produced slightly higher saturation in JPEGs than either the X-T2 or X-T20. But RAF.RAW files captured at the same time and converted into TIFF format with Adobe Camera Raw were closer to the ideal values, suggesting some effort has been made to improve either the RAF.RAW files themselves or Adobe’s Camera Raw processing.

      Imatest also showed the camera came close to the expected resolution for JPEGs but well above expectations for RAF.RAW files. The graph below shows the comparison between JPEG   and converted uncompressed RAF.RAW files across the review camera’s ISO range.



      High ISO performance was outstanding. Shots taken at settings up to ISO 12800 were clean and noise-free and there was little evidence of increasing   noise thereafter. Nor did we notice the granularity and loss of saturation that affected files shots with the two highest ISO settings in the previous cameras we have reviewed.

      The auto white balance setting produced neutral colour rendition under fluorescent lighting but failed to fully eliminate the orange casts from incandescent and warm-toned LED  lighting, although it reduced them enough to make subsequent corrections straightforward. The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was slight.

      In the field, the camera handled mixed lighting situations well and manual measurement produced neutral colours under all three types of lighting and Plenty of in-camera adjustability is available to fine-tune colour balance on the go.

      Autofocusing was generally very fast and accurate for both stills and video clips. The camera seemed able to track moving subjects effectively with even the most basic AF setting and subjects entering the frame were quickly identified when shooting movie clips. Unfortunately, since the camera was supplied with a prime lens, we couldn’t evaluate AF performance during zooming.

      In-body image stabilisation was also very effective although, without being able to test the camera with longer lenses than the 35mm f/2 lens supplied with the camera, we are unable to comment definitively on this feature. We can, however, note that the test shots we took were not affected by camera shake.

      We didn’t have the camera long enough to test its video capabilities to the full but, suffice it to say, we were impressed with the quality of the movie clips we obtained from the review camera in the short time we had it. Clips shot in bright outdoor lighting with the Standard Film Simulation mode tended to be a bit contrasty and their saturation was a little high.

      In contrast, the ETERNA setting produced footage with lower contrast and saturation, while retaining a fair amount of shadow detail. Fujifilm recommends this setting for footage that will be post-produced since it gives scope for colour grading. Our experience confirms this recommendation.

      Soundtracks recorded through the on-board microphones were clear and dynamic, with some depth suggesting the stereo recording is effectively handled. The camera can also accept external microphones for more professional audio recordings.

      Our timing tests were carried out without the VPB-XHI on the camera body, since we wanted to evaluate the camera’s capabilities. In one card slot (assigned to JPEGs) we loaded a 64GB SanDisk SDHC UHS-II memory card with a read speed of up to 300MB/s and   write speed of up to 260MB/s.   The other slot had a 64GB Lexar Professional SDHC UHS-II rated at 300MB/s. Both cards are recommended for professional video work and can also handle rapid burst capture of raw and JPEG images.

      The review camera powered up in roughly half a second and shut down almost instantly. We measured an average capture lag of 0.15 second, which was eliminated with pre-focusing. Lag times were as long as 0.4 second when the lens was seriously defocused.

      Shot-to shot times averaged 0.5 seconds. On average, it took 2.1 seconds to process each JPEG file, 2.2 seconds for each RAF.RAW file and 2.4 seconds for each RAW+JPEG pair.

      Using the electronic shutter with the high-speed continuous shooting mode, the review camera recorded 190 full-resolution JPEG images in 21.5 seconds before slowing. This works out at a little over 11 frames/second.  Processing was completed within 6.2 seconds of the last frame in the sequence.    

      When raw file capture was selected with the electronic shutter, 26 uncompressed frames were recorded in 11.6 seconds.  The sequence took 8.7 seconds to process. With compressed raw files, the buffer memory filled at around the 35th frame, which was recorded in 3.9 seconds. It took 5.2 seconds to process this burst.

      With the mechanical shutter selected in the high-speed continuous shooting mode, the review camera recorded 90 full-resolution JPEG images in 10.5 seconds without slowing. This works out at around 11.7 frames/second. Processing was completed within three seconds of the last frame recorded.

      Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 27 frames, which were recorded in 3.1 seconds, a frame rate of roughly 11.5 fps. It took 8.2 seconds to process this burst. Combining compressed raw frames with high-resolution JPEGs, the camera recorded 45 frames in 5.3 seconds, a frame rate of almost 11.8 fps. Processing was completed within 4.5 seconds of the last frame captured.

      Note: The camera’s performance is governed by the speeds of the cards it uses. Slower cards will have slower clearing times and this may also limit length of bursts in continuous mode. ISO sensitivity and noise reduction settings can also influence processing times and burst mode performance.

      Fujifilm’s new X-Series flagship offers a lot to photographers who appreciate the company’s traditional camera styling, with manually adjustable lens aperture rings and shutter speed and ISO dials. The addition of the sensor-shift image stabilisation system and improvements to the 4K video capabilities of the X-H1 will make it more desirable to professional photographers than the X-T2 that was the previous flagship model.

      The more robust construction, improvements to the control layout and faster, more customisable and more accurate AF system, making the X-H1 a serious rival to high-end DSLR cameras. Price-wise, the X-H1 sits slightly above the equivalent APS-C models from Canon and Nikon, although we believe the Fujifilm camera will be superior in almost every way.

      Reduced battery capacity, a penalty imposed by having an EVF instead of an optical viewfinder, is the only function where we find the Fujifilm camera inferior ““ and that is addressed with the VPB-XHI grip. The camera itself is smaller, lighter and much easier to use for photographers who shoot video than any DSLR, regardless of sensor size or resolution.

      It’s early days for the X-H1 and most local re-sellers are only taking orders for the camera. Nonetheless, discounts can be found if you shop around. A couple of prominent local re-sellers have listed the X-H1 plus VPB-XHI listed at around AU$3199, which represents a saving of $200 on the RRP.

      Offshore prices are much the same when GST and shipping are included ““ and insurance would push the amount you pay above the local RRP so it’s better to buy from your local camera specialist. We’d like to see the X-H1 offered in Australia without the bundled VPB-XHI for photographers who prefer to travel light and don’t need the extended battery capacity. That would enable local re-sellers to offer similar deals to their off-shore competitors.



       Image sensor: 23.5 x 15.6 mm (APS-C) X-Trans CMOS III sensor with primary color filter, 24.3 megapixels effective.
       Image processor:  X-Processor Pro
       A/D processing: 14-bit
       Lens mount: Fujifilm X mount
       Focal length crop factor:
       Image formats: Stills: JPEG (Exif Ver.2.3), RAF.RAW, RAW+JPEG; Movies: MOV (MPEG-4 AVC / H.264, Audio: Linear PCM / Stereo sound 24bit / 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; Movies:   4K (4096 x 2160) at 24p / 23.98p 200Mbps / 100Mbps / 50Mbps; 4K (3840 x 2160) at 29.97p / 25p / 24p / 23.98p 200Mbps / 100Mbps / 50Mbps; Full HD (2048 x 1080) at 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 100Mbps / 50Mbps; Full HD (1920 x 1080) at 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 100Mbps / 50Mbps; Full HD (1920 x 1080) High speed rec. at 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 200Mbps;  HD (1280 x 720)] 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 50Mbps
       Image Stabilisation: Sensor shift mechanism with 5-axis compensation; 5.5 stops (based on CIPA standard. Pitch/yaw shake only. With XF35mm f/1.4 R lens mounted.
       Dust removal: Ultra Sonic Vibration
       Shutter type: Focal Plane Shutter
       Shutter speed range: Mechanical Shutter – 30-1/8000 sec. plus Bulb to 60 min; Electronic shutter – 30 sec. to 1/32000 sec. plus Bulb fixed at 1 sec. Electronic front curtain shutter works until 1/2000 sec. Flash sync at 1/250 sec. or slower
       Exposure Compensation: +/-5 EV in 1/3EV steps (+/-2EV for movies)
       Exposure bracketing: +/-3EV, +/-8/3EV, +/-7/3EV, +/-2EV, +/-5/3EV, +/-4/3EV, +/-1EV, +/-2/3EV, +/-1/3EV
       Other bracketing options:  White Balance, ISO, Dynamic Range, Film Simulation
       Self-timer: 2 or 10 seconds delay
       Intervalometer: Yes (Setting : Interval, Number of shots, Starting time)
       Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
       Focus modes: Single AF, Continuous AF, MF; Zone AF: 3 x 3 / 5 x 5 / 7 x 7 from 91 areas on 13 x 7 grid; Wide/Tracking AF: (up to 18 areas)
       Exposure metering:  TTL 256-zone metering with Multi, Spot, Centre-weighted and Average metering patterns
       Shooting modes: P (Program AE) / A (Aperture Priority AE) / S (Shutter Speed Priority AE) / M (Manual Exposure)
       Film Simulation modes: 16 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+G Filter, Sepia, ACROS, ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema)
       Advanced Filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial color (Red / Orange / Yellow / Green / Blue / Purple)
       Colour space options: Adobe RGB, sRGB
       ISO range: Auto – ISO 200-ISO12800 in 1/3 EV steps,   Extended output sensitivity : ISO100 / 125 / 160  / 25600  / 51200
       White balance: Automatic Scene recognition, Custom1-3, Colour temperature selection (2500K-10000K), Preset: Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light, Underwater
       Flash: Hot shoe for external flashguns
       Flash modes: TTL (Auto / Standard / Slow Sync.) / Manual / Commander / Off) 1st Curtain, 2nd Curtain Auto FP (HSS)  
       Flash exposure adjustment:
       Sequence shooting: Max. 14 frames/sec.  
       Buffer capacity: 40 JPEG, 27 losslessly compressed raw, 23 uncompressed raw
       Storage Media: Dual slots for SD, SDHC, SDXC cards (Compatible with UHS-I and UHS-II standards)
       Viewfinder: 0.5 inch OLED colour EVF with   3,690,000 dots, 100% coverage, 23mm eyepoint, 0.75x magnification, built-in eye sensor
       LCD monitor: 3.0 inch, aspect ratio 3:2, approx. 1,040,000 dots, touch screen colour LCD monitor (approx. 100% coverage)
       Interface terminals: USB3.0 (High-Speed) / micro USB terminal; HDMI micro connector (Type D), 3.5mm, stereo mini connector (Microphone) / 2.5mm, Remote Release Connector
       Hot shoe, Synchronised terminal
       Wi-Fi function: IEEE 802.11b / g / n (standard wireless protocol), Bluetooth Ver. 4.0 (Bluetooth low energy)
       Power supply: NP-W126S rechargeable Li-ion battery pack; CIPA rated for approx. 310 shots/charge
       Dimensions (wxhxd): 139.8 x 97.3 x 85.5 mm
       Weight: Approx. 673 grams (including battery and memory card)  

       Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au  



      For JPEG files.




      For RAF.RAW files processed with Adobe Camera Raw.







       All shots taken with Fujinon XF 35mm f/2 R WR lens.


      Auto white balance with incandescent lighting.


      Auto white balance with fluorescent lighting.



       Auto white balance with warm-toned LED lighting.


      20-second exposure at ISO 100, f/24.


      20-second exposure at ISO 200, f/4.


      10-second exposure at ISO 1600, f/5.6.


      5-second exposure at ISO 6400, f/8.


      2-second exposure at ISO 12800, f/8.


      1-second exposure at ISO 25600, f/8.


      1-second exposure at ISO 51200, f/11.


      Close-up; ISO 250,1/200 second at f/2.


      ISO 200, 1/160 second at f/2.


      ISO 400, 1/750 second at f/8.


      ISO 400,1/340 second at f/2.8.


      ISO 400,1/250 second at f/9.


      ISO 640,1/500 second at f/8.


      ISO 200,1/250 second at f/8.


      ISO 200,1/1400 second at f/2.8.


      ISO 200,1/850 second at f/2.2.


      ISO 200,1/280 second at f/3.2.


      ISO 200,1/340 second at f/2.8.


      ISO 800,1/850 second at f/5.6.


      ACROS monochrome Film Simulation mode; ISO 800,1/250 second at f/6.4.


      ISO 400,1/1450 second at f/8.


      ISO 1600,1/14 second at f/7.1.


      ISO 100,1/500 second at f/5.6.


      ISO 640,1/250 second at f/6.4.


      ISO 250,1/2500 second at f/4.


      Still frame from 4K 17:9 video clip (4096 x 2160 pixels) recorded at 25p.


      Still frame from 4K 16:9  video clip (3840 x 2160 pixels)recorded at 25p.


      Still frame from Full HD 17:9 video clip (2048 x 1080 pixels) recorded at 50p.


      Still frame from Full HD 16:9 video clip (1920 x 1080 pixels) recorded at 50p.


      Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 25p.


      Still frame from HD (1280 x 720 pixels) video clip recorded at 50p.


      This frame shows the effects of the ETERNA Film Simulation mode.



      RRP: AU$3,399; US$2,200 (body only with Vertical Power Booster Grip)

      • Build: 9.1
      • Ease of use: 8.8
      • Autofocusing: 9.1
      • Still image quality JPEG: 8.9
      • Still image quality RAW: 9.1
      • Video quality: 9.0