Fujifilm X-M1

      Photo Review 8.5


      The Fujifilm X-M1 is the third model in the company’s Compact System Camera (CSC) line-up and targeted more towards snapshooters.Featuring the same 16.3 megapixel X-Trans CMOS sensor as the  X-Pro1  and  X-E1  but a new EXR Processor Pro image processor, it’s a little smaller and lighter than previous models and includes integrated Wi-Fi, just like Fujifilm’s compact cameras.

      As sold in Australia, the X-M1 plus 16-50mm kit lens will suit photographers who enjoy shooting general subjects, such  as landscapes and portraits. It’s small enough to be an attractive traveller’s camera and makes a reasonably good choice for photographing children and pets, although you’ll need a longer lens if you want to photograph sports action or wildlife.

      While we were producing this review Fujifilm announced its fourth X-Series camera, the X-A1, an entry-level model with a standard CMOS sensor. Before purchasing the X-M1 it might be worth having a look at the lower priced X-A1 which appears to be virtually identical – the main difference being the superior X-Trans CMOS sensor of the X-M1.  



      Full review

      Announced towards the end of June 2013, the Fujifilm X-M1 is the third model in the company’s Compact System Camera (CSC) line-up and targeted more towards snapshooters. Featuring the same 16.3 megapixel X-Trans CMOS sensor as the X-Pro1 and X-E1  but a new EXR Processor Pro image processor, it’s a little smaller and lighter than previous models and includes integrated Wi-Fi, just like Fujifilm’s compact cameras.


      The Fujifilm X-M1, shown in silver with the XC 16-50mm f/3.5-5.6 OIS kit zoom lens. (Source: Fujifilm.)

      The X-M1 is offered in black, silver or brown launches with XC 16-50mm f/3.5-5.6 OIS kit zoom lens. Fujifilm Australia tells us the camera is sold as a kit with the lens and the body is not sold separately.


       The three colour options available for the Fujifilm X-M1. (Source: Fujifilm.)

      While we were producing this review Fujifilm announced its fourth X-Series camera, the X-A1, an entry-level model with a standard CMOS sensor replacing the X-Trans CMOS chip in the other three cameras. Like the X-M1, it will only be sold in Australia with the XC 16-50mm f/3.5-5.6 OIS kit zoom lens. The table below compares key features of the four models.






      Dimensions (WxHxD)

      116.9 x 66.5 x 39.0 mm

      129.0 x 74.9 x.38.3 mm

      139.5 x 81.8 x 42.5 mm

      Weight (incl. battery and card)

      330 grams

      350 grams

      450 grams

      Body material

      Mainly plastic

      Magnesium top & front plus plastic

      Magnesium & aluminium

      Monitor size/resolution

      3-inch/920,000 dots

      2.8-inch OLED /46,000 dots

      3-inch/1,230,000 dots



      EVF with 2.36 million dots

      Hybrid optical/EVF   with 1.44 million dots


      Built-in GN 7

      Optional external


      15.6 x 23.6 mm CMOS  (16.3 MP effective)

      23.6 x 15.6 mm (APS-C) X-Trans CMOS with16.3 megapixels effective

      Image processor

      EXR Processor II

      EXR Processor Pro

      Max. burst speed/capacity

      5.6 fps (JPEG: max. 30 frames, RAW and RAW+JPEG: max. 10 frames)

      3 frames/second for up to 6 shots


      Integrated IEEE 802.11b / g / n  

      Only via Wi-Fi card

      RRP for single-lens kit

      AU$849 (with 16-50mm lens)

      AU$1099 (with 16-50mm lens)

      AU$1499 (with 18-55mm lens)

      AU$1999 (with 18-55mm lens)







      The main difference between the just-announced X-A1 and the X-M1 lies in the sensor. Whereas the other three cameras sport Fujifilm’s proprietary X-Trans CMOS sensor, the X-A1 has a standard CMOS chip with Bayer filtration.All four cameras use the same NP-W126 battery, which will be welcomed by owners  of the X-Pro 1 or X-E1.

      Who’s it For?
       With the introduction of the X-A1, Fujifilm has created a marketing problem for itself and consumers will be wondering whether the X-Trans CMOS sensor is worth the extra AU$250 commanded by the X-M1 kit. For both cameras’ target market, the answer is likely to be negative, since the other features of both cameras are virtually identical. And, for this reason, we can’t nominate the X-M1 as an Editor’s Choice.

      Which camera you choose will depend on four issues:
       1. Do you want a viewfinder ““ and, if so, would you prefer a hybrid viewfinder or a higher specified EVF?

      2. How important is the size and weight of the camera body? (Note: the X-M1 and X-A1 are only 20 grams lighter than the X-E1, although they are noticeably smaller.)

      3. Do you want/need integrated Wi-Fi, Fujifilm style? (Note: Fujifilm’s system doesn’t support remote control of camera functions like aperture and shutter speed settings and lens adjustments.)

      4. How much are you prepared to pay?  

      If you require a viewfinder, scratch the X-M1 and X-A1 off your list; neither camera has one and you can’t add one. Photographers happy with using a monitor to compose shots, read on.

      Casual snapshooters stepping up from a compact digicam to a more capable camera with better imaging performance and the option of using interchangeable lenses will find either the X-M1 or X-A1 a comfortable option. Their control layout isn’t much different from Fujifilm’s digicams and the buttons are well marked and larger in size.

      As sold in Australia, the X-M1 plus 16-50mm kit lens will suit photographers who enjoy shooting general subjects, such   as landscapes and portraits. It’s small enough to be an attractive traveller’s camera and makes a reasonably good choice for photographing children and pets, although you’ll need a longer lens if you want to photograph sports action or wildlife.

      If you’re into the kind of ‘canned’ creativity that in-camera filters provide, the X-M1 comes with eight filter effects (Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key and Partial Colour) which, unfortunately, are all fully automated and therefore non-adjustable.

      Traditionalists who want to recall the quality of silver-halide films can select from five Film Simulation Modes that replicate Fuji’s films: Velvia, Astia, Provia, Sepia and Black & White. These influence colour and tonal reproduction and can be applied in the P, A,S and M shooting modes, which support adjustment of all exposure parameters.

      For photographers who enjoy candid photography, the X-M1 provides a Silent shooting mode on the first page of the Setup menu. In this mode, the speaker, flash, AF-assist lamp and shutter-release click  are  turned off, making the camera unobtrusive to operate.

      The nearest competitor to the X-M1is the Sony NEX-5T, which has an RRP of AU$899 for body plus the 16-50mm kit lens. This is $200 less than the X-M1’s RRP. Price-wise, the X-A1 goes head-to-head against the NEX-5T and wins by a $50 margin, making the X-M1 even less competitive with its announcement.

      Build and Ergonomics
       The X-M1 is quite a different camera from its higher-featured siblings, both in design and construction. The rather ‘boxy’ plastic body has a leather-like textured surface and a shallow moulded grip on the front panel. It’s only 20 grams heavier than the X-E1 but lacks that camera’s ‘quality’ feel. The strap lugs on each side of the camera are horizontal on the X-M1, compared with vertical on the X-E1.  


      Front view of the X-M1 with no lens fitted. (Source: Fujifilm.)

      Significantly, the X-M1 has no viewfinder of   any kind, either optical or electronic, and the hot-shoe can’t accept an external finder, leaving users reliant on the monitor for shot composition. This is quite a disadvantage when shooting outdoors in the bright lighting experienced in Southern Hemisphere countries.

      The traditionally-styled aperture and shutter speed control dials on the X-E1’s top panel have been replaced by a fairly conventional exposure mode dial with 12 settings and a command dial. The latter sets exposure or shutter speed in the exposure modes and is used to select options in the quick menu display or toggle through images in playback mode. All pretty conventional.

      The shutter button is positioned between the mode and command dials and has a lever switch for the power on/off surrounding it. Unlike the X-E1 and the X-Pro 1, the shutter release button on the X-M1 is not threaded to accept a screw-in cable release.


      Top view of the X-M1 with the 16-50mm kit lens fitted. (Source: Fujifilm.)


      The flash hot-shoe and embedded pop-up ‘Super Intelligent’ flash are similar to those in the X-E1, although the X-M1’s flash is closer to the left hand end of the top panel into the place occupied by the X-E1’s viewfinder.  Fujifilm’s technology enables the built-in flash to calculate and deliver the appropriate amount of light for a variety of scenes, including close-ups.


      Front view of the X-M1 with the 16-50mm kit lens fitted and the flash popped up. (Source: Fujifilm.)

      The rear panel of the X-M1 is where the most significant design changes have occurred, starting with the loss of the viewfinder. The tilting monitor is supposed to provide some compensation and may be popular with snapshooters.  


      The rear panel of the X-M1. (Source: Fujifilm.)

      Its resolution is relatively high at 920,000 dots and its refresh rate is fast. The aspect ratio of 3:2 is the same as the camera’s native ratio. It can be pulled out from the camera and tilted up through 120 degrees and down through 80 degrees to enable users to hold the camera at waist level or above their heads.  


      The illustration above shows the adjustment range of the X-M1’s monitor. (Source: Fujifilm.)

      Gone is the array of vertical button controls that graced the X-E1’s rear panel. On the X-M1, the monitor is close to the left hand side and the arrow pad buttons access functions like AF modes, white balance, drive modes and the macro setting, with the AF button doubling as the erase button in playback mode.

      Separate buttons provide access to the playback, display/back and Quick control panel settings and there’s a new movie record button. AE-L/AF-L and metering mode buttons aren’t provided but there’s a programmable Fn button on the top panel, which accesses Wi-Fi settings in playback mode.

      Functions that can be assigned to the Fn button include ISO, self-timer, depth-of-field preview, image size or quality, dynamic range, Film Simulation setting, metering mode, focusing mode, Instant AF, AE-L/AF-L, face detection settings, raw.JPEG toggle, movie mode and location data search. But only one function can be selected from this list.

      The rear panel also carries a moulded thumb rest, which we didn’t find particularly comfortable, although it helps to make the camera operable with one hand, if required. (The position of the movie button isn’t ideal for shooting video clips one-handed.)

      Inset into the top of the thumb rest is a sub-command dial, which has multiple uses. In the shooting modes it can control program shift, set aperture or shutter speed or select options in the Quick menu display. In playback mode it is used to zoom in and out in full-frame or thumbnail mode. Pressing the centre of the sub-command dial lets you zoom in on the selected manual focus area or point or choose how manual focus is displayed.

      In most shooting modes, the command dial adjusts exposure compensation, while the sub-command dial is used to adjust other parameters. With practice, you can turn either dial with index finger or thumb, provided the camera is held with both hands.  

      Two interface ports are located behind a lift-up cover on the right hand side panel: one offering a Micro USB connection and the other a Mini HDMI. The former can be used to connect a remote release. No cables are supplied with the camera.

      The battery and SD card slot share a compartment in the base of the camera, directly under the grip. Beside them is a metal-lined tripod mount, which is offset from the optical axis of the lens.

      Sensor and Image Processing
      For details of the 16.3-megapixel X-Trans CMOS sensor used in the X-M1, check out the relevant section of our review of the Fujifilm X-Pro 1 (INSERT LINK), the first camera to be released with this sensor. Interestingly, the image processor has been updated to a new second-generation chip, without changing the camera’s sensitivity rating, which is the common to all models in the series.

      The native sensitivity range extends from ISO 200 to ISO 6400 for both JPEG and RAF.RAW files and it can be extended downwards to ISO 100 or pushed up to ISO 12800 and ISO 25600 through settings in the shooting menu, although only with JPEG files. High ISO and long exposure noise reduction are available as discrete settings.

      Like its siblings, the X-M1’s movie capabilities support both Full HD (1920 x 1080 pixels) and HD modes (1280 x 720 pixels) using progressive scanning with a frame rate of 30 frames/second, a minor change to the 24 fps frame rates of the older cameras. The maximum clip length is 14 minutes for 1080p files and 27 minutes for 720p files. Movies are recorded in H.264 compliant  MOV format   with linear PCM stereo soundtracks.

       Wi-Fi implementations isn’t as comprehensive or effective as it is in cameras from most other manufacturers and designed mainly to enable images to be sent to a smart-phone or tablet PC. As usual, only JPEGs can be transferred and you must first install the free Fujifilm Camera Application in the smart device. It’s available through http://app.fujifilm-dsc.com/app or from Apple’s App Store or Google Play. If you want to share images from the camera with friends, they must first install Fujifilm Photo Receiver, which is available free from the same websites.

      Installing the necessary applications is straightforward and, once that’s done, you can connect to the network by pressing the Fn (Wi-Fi) button on the top panel. Note: the camera sets up an unsecured network with no password so all network connections must be authorised from the camera’s menu.

      The menu displays three options: Send individual image, Send selected multiple images and View and obtain images on smart-phone (shown as an icon). These actions are largely self-explanatory, although when sending images they must be selected in advance. To transfer images, you simply select them, press the Wi-Fi button, choose the appropriate menu option, open the app on your smart-phone or tablet and touch Connect.

      The View and obtain images on smart-phone mode lets you display the images on the camera’s memory card on the smart device’s screen. You can then select individual images and transfer them and you can opt to send the images at full size or downscaled to 3-megapixels.

      The Camera Application lets you select and upload up to 30 images at a time ““ provided they don’t exceed the data limit of 2GB. When the default setting of On is selected for Wireless Setting > Resize image for smartphone, the images will be resized to 3MB before sending.

      You can’t upload movie clips with the same settings as used for still images but the View and obtain images setting lets you view the movie files on the camera’s memory card on the smart device’s screen. The time required for transferring files depends upon the file size and the distance to the receiving device.

      Fujifilm’s Camera Application also provides support for geotagging images, using location data from a smart device. The process is more laborious than it need be since you have to send   the location data to your camera before the photos are taken and also re-sync the app and camera each time your location changes.

      This system is designed to conserve battery life by avoiding having a GPS receiver  in the camera. But it will only be effective if you’re meticulous about re-synching the location data before each shooting session. Geotagged images are identified by an icon during playback.

      Fujifilm also offers a free Fujifilm PC AutoSave app. that lets you upload images through your home Wi-Fi network from the camera  to a computer with the app. installed. It’s available from http://app.fujifilm-dsc.com/pc/. Setting up the connection involves connecting the camera, Wi-Fi router and computer in a wireless network and identifying the destination folder.   You have to initiate each transfer manually from the camera via the menu setting in playback mode.

      One important feature missing from the Fujifilm system is the ability to control the camera from a smart device’s screen. Competing cameras from   Sony, Panasonic and Olympus all come with ‘one touch’ remote control over shooting functions such as zooming and focus point selection. If you want remote control via Wi-Fi, these cameras will be a better choice.

       The X-M1’s AF system is based around 49 selectable sensor points and the camera offers several autofocusing choices:   multi (49-point) auto, area (single-point based selection) as well as continuous and tracking AF modes. In the area mode, the size of the area can be adjusted with the sub-command dial.

      Manual focusing is ‘fly-by-wire’ with little in the way of tactile feedback. Fortunately, there are a number of aids to help users to obtain precise focusing.   Selecting the MF mode displays a distance scale along the bottom of the monitor screen, with a red line indicating the focusing distance. A white band on either side of the red line shows the depth of field, which changes as you adjust the aperture setting.

      You can magnify the image on the monitor screen by pressing the sub-command dial and turning it. In addition, focus peaking is available to highlight parts of the subject that are sharply focused.   Unlike Sony’s system, the outline is only shown in white, although you can choose between high and low brightness settings.

      Playback and Software
       Playback modes are essentially the same as other Fujifilm cameras, with the menu providing the following settings: Erase, Crop, Resize,  Protect, Image rotate, Red-eye removal, Slide show and Photobook assist.  You can also Mark images for upload to YouTube, Facebook or MyFinePix.com.

      Image search lets you search stored images by date, face, favourites, data type or upload mark and you can tag images for DPOF printing with or without a superimposed date stamp. In-camera RAW conversion (to JPEG) is also supported. On-screen display options include multi-frame playback with the ability to select the number of thumbnails to display,   a framing guide with nine or 24-segment grid on HD framing crop, histogram display.

      Unfortunately, the bundled software is disappointing with the very basic MyFinePix Studio (which is supplied with Fujifilm’s entry-level digicams). The raw file converter is based on Silkypix technology, which is slow and doesn’t extract the best results from the camera’s RAF.RAW files.

      The XC 16-50mm f/3.5-5.6 OIS kit lens supplied with the camera is reviewed separately. Lens choices remain fairly limited for the X-Series as a whole, with Fujifilm’s roadmap showing only 12 lenses available by early 2014 (see below). Support for third-party lenses has been slow to materialise, with two Zeiss ‘Touit’ prime lenses released this year and another promised by 2014.


       Fujifilm’s roadmap of X-mount lenses to January 2014. (Source: Fujifilm.)

      Adaptors are available for mounting lenses from manufacturers like Canon, Nikon, Minolta, Contax/Yashica and Konica  but you lose autofocusing and auto aperture controls. Snapshooters will generally avoid these options.

       Subjective assessment of test shots showed them to be similar top shots we took with the X-E1. Although slightly soft straight out of the camera with the default setting, they contained plenty of sharp detail that could be extracted with a capable image editor.  

      Colours were natural-looking with the default Provia/Standard Film Simulation setting, although Imatest showed that saturation was similar to that of Fujifilm’s digicams and slightly high for an enthusiast’s camera. Skin hues in JPEGs were shifted slightly towards the warmer values.

      Since the Adobe Camera Raw plug-in for Photoshop doesn’t yet support the X-M1 we were forced to rely upon the supplied Silkypix converter to provide us with TIFF files for our Imatest evaluations. Raw files converted with this software revealed good colour fidelity and well controlled saturation.

      Resolution remained relatively high throughout the camera’s sensitivity range, tailing off very gradually as sensitivity was increased. Raw files can’t be captured at the highest and lowest sensitivity settings, which are reserved for JPEGs only. Between those values, converted RAF.RAW files produced slightly higher resolution than JPEGs, as shown in the graph of our test results below.


      Subjective assessment of image files showed high ISO performance to be as good as the X-E1’s. Long exposures at night showed little in the way of noise right up to ISO 6400, with a gradual increase in the visibility of noise and overall softening at the ISO 12800 and ISO 25600 levels. A slight loss of colour saturation and blocking up of shadows could be discerned at ISO 25600.  

      Flash exposures were even in the middle of the ISO range, with slight under-exposure at ISO 100 and ISO 200 and but evenly-balanced exposures up to ISO 25600, indicating effective exposure control in flash mode. The same loss of contrast and sharpness could be seen in flash shots at high ISO settings as we found for long exposures.

      Auto white balance performance was similar to other Fujifilm cameras we’ve reviewed. The review camera’s auto white balance failed to totally remove the orange cast from shots taken under incandescent lighting but came quite close to producing neutral colours in shots taken under fluorescent lighting. Both presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement corrected all colour casts.

      Autofocusing was quite fast when shooting stills in normal daylight but the system tended to labour   in low light levels and there were times when we had to switch to manual focusing after dark. Focusing was noticeably slower while recording movie clips and hunting was common in the default continuous AF mode.

      Movie quality was similar to that of previous models, with reasonably good colour reproduction and a decent dynamic range. Sound tracks were much as you’d expect, given the small size and very close spacing of the microphones.

      We carried out our timing tests with the same 32GB   SanDisk Extreme Pro SDHC U1 memory card as we used when testing the X-E1. Response times were fast once the camera was powered up, which took just over two seconds (a little less when the Quick Start Mode was enabled).

      We measured an average capture lag of 0.35 seconds, which was reduced to less than 0.1 seconds with pre-focusing.   Lag times were as long as 0.5 seconds if the lens was seriously defocused when the shutter button was pressed. Shot-to shot times averaged 1.5 seconds without flash and 2.5 seconds with. It took 1.8 seconds, on average to process each JPEG file, 2.5 seconds for a RAF.RAW file and 4.6 seconds for a RAW+JPEG pair.

      Continuous shooting speeds matched specifications at the top rate of 5.6 frames/second (fps). It took 6.5 seconds to process a burst of 10 JPEG frames with this setting or 19.5 seconds for a burst of 10 RAF.RAW files. We were able to record 29 JPEG frames before the capture rate slowed in this mode.

      A slower continuous shooting mode that records at three frames/second allows the camera to record up to approximately 50 JPEG frames. The buffer limit when RAF.RAW files are recorded is 10 frames.

      Both focus and the exposure are set with the first frame in each burst sequence, so this mode isn’t ideal for tracking fast-moving subjects when the subject-to-camera distance is changing. However, the camera doesn’t lock up while files are processed, allowing additional bursts to be recorded within a couple of seconds.



       Image sensor: 23.6 x 15.6 mm (APS-C) X-Trans CMOS with primary colour filter and 16.5 million photosites (16.3 megapixels effective)
       Image processor: EXR Processor II
       A/D processing: 12-bit
       Lens mount: Fujifilm X mount
       Focal length crop factor: 1.5x
       Image formats: Stills ““ RAW (RAF format), JPEG (Exif 2.3), RAW+JPEG; Movies ““ MOV (H.264) with Linear PCM Stereo
       Image Sizes: Stills ““ 3:2 aspect: 4896 x 3264, 3456 x 2304, 2496 x 1664; 16:9 aspect:  4896 x 2760, 3456 x 1944, 2496 x 1408; 1:1 aspect: 3264 x 3264, 2304 x 2304, 1664 x 1664; Movies: 1920×1080 (Full HD) at 30p, 1280×720 (HD) at 30p
       Image Stabilisation: Supported with OIS type lens
       Dust removal: Ultra Sonic Vibration of low-pass filter
       Shutter speed range: 30 to 1/4000 seconds plus Bulb: max. 60 min.; Flash synch at 1/180 sec. or slower
       Exposure Compensation: +/- 2EV in 1/3EV increments
       Bracketing: AE: +/-1/3EV, 2/3, 1 EV; Film Simulation Bracketing (3 types of film simulation selectable); Dynamic Range Bracketing (100% · 200% · 400%); ISO Sensitivity Bracketing (+/-1/3EV / +/-2/3EV / +/-1EV)
       Self-timer:   2 or 10 seconds delay
       Focus system: 49-area TTL contrast-detect AF with adjustable AF frame size;  AF assist illuminator available
       Focus modes: Manual Focus, Area AF, Multi AF, Continuous AF, Tracking AF
       Exposure metering: TTL 256-zone metering with Multi, Spot and Averagemodes
       Shooting modes: Advanced SR Auto, P, S, A, M, Custom, Portrait, Landscape, Sport, Scene Position (Portrait Enhancer, Night, Night (Tripod), Fireworks, Sunset, Snow, Beach, Party, Flower, Text), Advanced, Auto
       Film Simulation modes: Provia (Standard), Velvia (Vivid), Astia (Soft), Monochrome, Sepia (Usable for stills and movies)
       Effects filters: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
       Colour space options: sRGB, Adobe RGB
       ISO range: Auto: ISO 100 – 6400; Manual: ISO 100 – 25600
       White balance: Auto, Custom, Preset [Fine / Shade / Fluorescent light (Daylight) / Fluorescent light (Warm White) / Fluorescent light (Cool White) / Incandescent light]; R-Cy and B-Ye fine-tuning available in +/- 9 steps
       Flash: Manual pop-up flash; GN Approx. 7 (ISO200/m)
       Flash modes: Auto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-curtain Synchro, Commander; red-eye reduction is available
       Sequence shooting: Max. approx. 5.6 fps (JPEG: max. 30 frames, RAW / RAW+JPEG: max. 10 frames)
       Other features: Embedded IEEE 802.11b / g / n (standard wireless protocol)
       Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 and Eye-Fi Card compatible
      Viewfinder: No
      LCD monitor: Tilting 3-inch TFT colour LCD with approx. 920,000 dots; 3:2 aspect ratio, 100% FOV coverage  
      Playback functions: RAW conversion, Image rotate, Auto image rotate, Red-eye reduction, Photobook assist, Erase selected frames, Image search, Multi-frame playback (with micro thumbnail), Slide show, Mark for upload, Protect, Crop, Resize, Favourites
      Interface terminals: Micro USB 2.0/ remote   release terminal for   optional RR-90 controller, HDMI (Type C Mini), Wi-Fi (IEEE 802.11b / g / n standard wireless protocol)
      Power supply: NP-W126 rechargeable lithium-ion battery; CIPA rated for approx. 350 shots/charge (with XF35mmF1.4 R lens)
      Dimensions (wxhxd): 116.9 x 66.5 x 39.0 mm
      Weight: Approx. 330 grams (body only)



       JPEG files:


       RAF.RAW files converted with the supplied Silkypix converter.






       Auto white balance with incandescent lighting.


      Auto white balance with fluorescent lighting.


      16mm focal length, ISO 200, 1/250 second at f/7.1.


      50mm focal length, ISO 200, 1/250 second at f/6.4.


      30-second exposure at ISO 100, 20mm focal length, f/5.


      15-second exposure at ISO 800, 20mm focal length, f/8.


      5-second exposure at ISO 6400, 20mm focal length, f/13.


      5-second exposure at ISO 12800, 20mm focal length, f/18.


      2.5-second exposure at ISO 25600, 20mm focal length, f/18.


      Flash exposure at ISO 100, 50mm focal length, 1/30 second at  f/5.6.


      Flash exposure at ISO 800, 50mm focal length, 1/30 second at   f/5.6.


      Flash exposure at ISO 16400, 50mm focal length, 1/30 second at   f/5.6.


      Flash exposure at ISO 12800, 50mm focal length, 1/30 second at   f/5.6


      Flash exposure at ISO 25600, 50mm focal length, 1/30 second at   f/5.6.


      Dynamic range with auto exposure setting; 50mm focal length, ISO 200, 1/350 second at f/8.


      Shutter priority AE mode: 50mm focal length, ISO 800, 1/1600 second at f/5.6.


      Shutter priority AE mode: 50mm focal length, ISO 200, 1/10 second at f/22.


      50mm focal length, ISO 640, 1/60 second at f/11.


      50mm focal length, ISO 400, 1/20 second at f/14.


      50mm focal length, ISO 200, 1/125 second at f/7.1.


      50mm focal length, ISO 400, 1/280 second at f/6.4.


      30mm focal length, ISO 25600, 1/350 second at f/14.


      Still frame from Full HD video clip recorded at 1920 x 1080 pixels.


      Still frame from HD video clip recorded at 1280 x 720 pixels.
       Additional image samples can be found with our review of the Fujinon XC16-50mm f/3.5-5.6 OIS lens.



      RRP: AU$1099 or US$799.95, as reviewed with XC 16-50mm f/3.5-5.6 OIS lens

      • Build: 8.5
      • Ease of use: 8.5
      • Still image quality JPEG: 8.8
      • Still image quality RAW: 8.8
      • Video quality: 8.0