Fujifilm X-Pro2

In summary

The X-Pro2 gives Fujifilm a new flagship model that will be welcomed by photographers who appreciate the company’s nouveau-retro body design, solid construction and traditional controls. Improvements to the control layout and menu design will also be appreciated, as will the addition of another SD card slot and support for UHS-II cards.

The new, higher-resolution sensor appears to be a big plus and the improvements to the autofocusing system will be noticeable to users of the original X-Pro1. So will the upgrading of the hybrid viewfinder, which is arguably the best of its type currently.

The more durable shutter mechanism and 1/8000 second top shutter speed plus the faster (1/250 second) flash synch as well as the new compressed raw file format make the camera more versatile than its predecessor.  The body of the new camera feels a bit more solid than its predecessor (which was itself very well put together).

We’re less certain of the value of the new ACROS File Simulation settings, although they will probably appeal to photographers who only shoot JPEGs. Raw shooters are likely to find them a bit limited.

The improvements to video capabilities are relatively minor and consist mainly of adding a few new frame rates. But, as we noted in the full review, video has never been a key features of cameras with X-Trans sensors so most potential buyers should be OK with the camera’s limitations.

 

Full review

This review is a follow-up to our X-Pro2  First Look report, which was published on 15 January when the   X-Pro2 was unveiled. In the four years that have elapsed between the X-Pro1 and X-Pro2 models, the mirrorless camera market has grown, diversified and generated increasing interest among photographers (compared with DSLR sales, which have declined).  During that period Fujifilm introduced the X-T1, which briefly became the flagship model, a position now taken by the X-Pro2.  

 Angled view of the new Fujifilm X-Pro2 camera, shown with the 35mm f/2 lens. (Source: Fujifilm.)

This review will be mainly focused upon the results of our shooting and Imatest tests and the handling aspects of the camera.  

Back view of the Fujifilm X-Pro2. (Source: Fujifilm.)
 

 Top view of the Fujifilm X-Pro2 with the 35mm f/2 lens fitted. (Source: Fujifilm.)

Four years is a long time between models and the new camera takes the best features of the earlier models and improves upon some of them as well as adding some new ‘goodies’, such as higher sensor resolution, improved autofocusing and refined controls. The table below provides a comparison between the X-Pro1 and X-Pro2 cameras.

	X-Pro2	X-Pro1
Sensor	24-megapixel X-Trans CMOS III	16.3-megapixel X-Trans CMOS
Max. image size	6000 x 4000 pixels	4896 x 3264 pixels
Max. shutter speed	Mechanical: 1/8000 sec.  Electronic: 1/32000 sec.	Mechanical: 1/4000 sec.
Continuous shooting	8 fps with AF-C  3 fpswith Live View	6 fps with AF-C  3 fpswith Live View
Flash synch	1/250 second	1/180 second
AF system	Hybrid contrast/phase detection	Contrast detection
AF points	273 points (incl. 169 PDAF points)  All directly selectable.	49 points  All directly selectable.
Direct AF point control	Via Joystick	No
Special AF functions	AF Tracking, Eye-detection AF, AF-C in MF mode	AF-S in MF mode
ISO range	200-12800 with extensions to ISO 100 and ISO 51200	200-6400 with JPEG-only extensions to ISO 100 and ISO 25600
Auto ISO   settings	3	1
Viewfinder	2,360,000-dot OLED (hybrid EVF/OVF)	1,440.000-dot LCD (hybrid EVF/OVF)
Brightline frame display	Yes	No
Split prism focus guide	Colour or Mono	No
Monitor	Fixed 3-inch 3:2 aspect ratio, 1,620,000 dots	Fixed 3-inch 4:3 aspect ratio, 1,230,000 dots
Card slots	2 (one UHS-11 compatible)	1 UHS-I
Command dials	2	1
Direct controls	Shutter Speed, ISO, Exposure Compensation, AF Drive Mode	Shutter Speed, Exposure Compensation, AF Drive Mode
EV compensation	+/- 3EV via dedicated dial or +/- 5EV with front dial	+/- 2EV
Customisable buttons	6	2
Monitor	Fixed 3-inch 3:2 aspect ratio, 1,620,000 dots	Fixed 3-inch 4:3 aspect ratio, 1,230,000 dots
Card slots	2 (one UHS-11 compatible)	1 UHS-I
Command dials	2	1
Panorama mode	No	Yes
Wi-Fi	Yes	No
Customisable Quick menu	Yes	No
My Menu setting	Yes	No
Max. movie quality	1080 60/50p	1080 24p
Film simulations	9	7
Compressed raw	Optional lossless compression	No
Battery capacity	350 shots/charge with OVF  250 shots/charge with EVF	300 shots/charge with OVF
Dimensions	140.5 x 82.8 x 45.9 mm	139.5 x 81.8 x 42.5 mm
Weight	445 grams (body only)	400 grams (body only)

The review camera was supplied with the new Fujinon XF 35mm f/2 R WR lens, which is reviewed separately.

Handling
 Like its predecessor, the X-Pro2 is a substantial handful for a mirrorless camera. It’s actually heavier than some entry-level DSLRs, largely because it’s better built. Extensive use of magnesium in the chassis and the addition of weatherproof sealing contribute to the overall weight of 445 grams for the body alone. Add a further 55 grams for battery and memory cards before accounting for the lens.

Enlarging the front grip and rear panel thumb rest have made the camera sit more comfortably in the right hand, even enabling single-handed shooting. The user’s middle and ring fingers rest naturally on the contoured rubber section of grip, while another contoured rubber pad on the rear panel reaches down past the first knuckle on the user’s thumb.

This makes it easy to reach the shutter with the index finger while operating the viewfinder selector lever and bright frame display button with the middle finger.  The Q (quick menu) button is accessible by the thumb when the camera is supported by the left hand.

Pressing the Q button displays a menu of 16 functions covering exposure, focusing, image size and quality, dynamic range, white balance, noise reduction, film simulation, self-timer, flash and EVF/LCD brightness settings. Interestingly, ISO sensitivity is not included, a serious omission in our opinion. All settings are user-programmable and you can save combinations of settings in one of seven custom settings banks.

Photographers will also welcome the addition of the ‘focus stick’ to the rear panel, This joystick control, which is easily accessed by your thumb, lets you position the AF point or focus zone virtually anywhere within the image frame. Pressing the central button a second time shifts the focus back to the centre of the frame. It’s quick to use and can be very precise when a single AF point is selected.

The top panel controls are essentially the same as the X-Pro1’s but the shutter speed dial now extends to 1/8000 second and a pull-up dial for adjusting ISO sensitivity has been embedded in this dial. We found the ISO setting quite stiff, which meant changing ISO settings wasn’t quite as easy as via a dedicated button or menu entry.

The small font size and overlying ‘window’ also made it difficult to see the numbers in poor lighting conditions.   We found it best to set this dial to the Auto position and limit the auto ISO range within the camera’s menu, where you can specify the default sensitivity, ISO limit and minimum shutter speed for three auto settings.

Another adjustment to the top panel dials has been the extension of the exposure compensation range. The dial now covers a range of +/- 3EV (up from 2EV) and has a C position that lets you use the rear control dial to expand the range to +/-5EV.

The addition of dioptre adjustment to the viewfinder is another feature we welcome and a big improvement on the X-Pro1, where an additional dioptre adjustment lens was required if your vision was less than perfect. The new camera’s viewfinder housing has a small dial on the left hand side that turns through a range of -4 to +2 dioptres.   The adjustment works well with both the EVF and OVF.

As mentioned in our First Look, the Advanced Hybrid Multi Viewfinder is based on the viewfinder in the X100T camera and has the same resolution and frame coverage. The OVF covers 92% of the frame and provides two magnification settings: 0.36x for 18mm lenses and 0.6x for 35mm or 60mm lenses. The EVF is larger than the X-Pro1’s and has roughly twice the resolution plus a faster refresh rate of 85 frames/second. It also works really well in low-light conditions.

The Electronic Rangefinder (ERF) function ,which is ported across from the X100T, places a small window in the OVF, enabling users to check focus, angle-of-view, exposure and white balance in real-time, while the Optical Rangefinder (ORF) mode provides the same type of view as a normal optical viewfinder. Three levels of magnification are available: the whole frame (parallax corrected), a zoomed-in view with 2.5x magnification (similar to the X100T) and 6x magnification for high focus accuracy.

The Bright Frame Simulation button on the viewfinder selector lever provides a framing guide for different focal lengths when the OVF is used. The frames range from wide (0.36x) to tele (0.6x) with two settings between. We found the EVF more useful for showing frame coverage.

Moving the rear panel’s button controls to the right hand side of the LCD monitor puts the functions they control within a thumb’s reach, leaving your left hand free to cradle lenses and control lens adjustments. In addition, all the buttons on the arrow pad are programmable to access any of 26 functions. The defaults are (clockwise from top) drive, white balance, AF mode and Film Simulation.

Other function buttons can be found on the top panel (Fn1) just right of the shutter button, the bright frame simulation button (Fn2) and the metering button above the monitor (Fn3). The default settings for these buttons are recording movies, bright frame simulation and metering, respectively.

The dual SD card compartment on the right hand side panel has labelled slots for different cards: Slot 1 accommodates fast UHS-II cards while Slot 2 is for UHS-I cards. Using the Save Data Set-up option in the Set Up Menu you can select:

Sequential to continue writing to the card in Slot 2 when the card in Slot 1 is full;
 Backup to duplicate files on both cards; or
 RAW/JPEG to record RAF.RAW files to Slot 1 and JPEGs to Slot 2.

The compartment is large enough and the slots far enough apart to make inserting and removing cards easy. The battery has its own compartment in the base of the camera and a separate charger is supplied with the camera.

Menus
Fujifilm has successfully re-jigged the menu system in the X-Pro2 to provide a more intuitive and easier to use interface. There are now seven tabs aligned along the left hand side covering the following operations: I.Q., AF/MF, Shooting, Flash, Movie, Set Up, and MY. Within each section is between one and three pages of individual settings.

You can switch between tabs with either the rear dial or the up/down buttons on the arrow pad and toggle through the pages with the front dial. Pressing the Menu/OK button opens the selected function.

The MY tab opens the programmable My Menu function, which lets you set up a simplified menu containing only the items you use frequently. Open the Set Up tab and select My Menu Setting and then scroll through the menu highlighting the items you wish to include in your personalised menu. Pressing the Menu/OK adds them to your My Menu selection.

Sensor and Image Processing
 The 23.6 x15.6mm X-Trans CMOS III sensor in the X-Pro2 has an effective resolution of 24.3 megapixels, the highest   pixel count so far for an X Series camera. This means the maximum image size increases from 4896 x 3264 pixels in the X-Pro 1 to 6000 x 4000 pixels in the new camera.

The native sensitivity range is ISO 200 to ISO 12800, with extensions to ISO 100 and ISO 25600 or ISO 51200. You must choose between two high ISO settings in the Button/Dial sub-menu in the setup menu. Unlike the X-Pro1, which couldn’t record raw files at ISO 100 or its two top sensitivity settings, the X-Pro2 will record raw files throughout the full ISO range.

The EXR II   processor chip partnered with the sensor enables the camera to record continuous bursts of still frames at up to eight frames/second (fps). The buffer memory can accommodate 83 high-resolution JPEGs, 33 losslessly-compressed RAF.RAW frames or 27 uncompressed raw frames.

Three aspect ratio settings are supported: 3:2, 16:9 and 1:1. There are also two JPEG compression settings, Fine and Normal, and raw files can be compressed or uncompressed. The table below shows typical file sizes.

Aspect ratio	Image Size	Resolution	Fine	Normal
3:2	RAW	6000 x 4000	50.9MB (uncompressed)
			25.6MB (lossless compression)
	RAW+JPEG	6000 x 4000	65.6MB (uncompressed)
			40.4MB (lossless compression)
	L	6000 x 4000	14.6MB	9.7MB
	M	4240 x 2832	7.4MB	4.9MB
	S	3008 x 2000	3.7MB	2.5MB
16:9	L	6000 x 3376	12.3MB	8.2MB
	M	4240 x 2384	6.2MB	4.2MB
	S	3008 x 1688	3.2MB	2.1MB
1:1	L	4000 x 4000	9.8MB	6.5MB
	M	2832 x 2832	4.9MB	3.3MB
	S	2000 x 2000	2.5MB	1.7MB

The X-Pro2 lacks the ‘Motion Panorama’ modes provided in the X-Pro 1 and accessed via the Drive mode settings. Pressing the Drive button on the arrow pad opens a menu containing nine tabs, covering still image and continuous shooting,   five bracketing options (AE, ISO, Film Simulation, White Balance and Dynamic Range), Multiple Exposures and Advanced Filters.

There are two continuous shooting speeds: eight frames/second and three frames/second, although actual frame rates can be influenced by the shutter speed, ISO and focus mode selected.

The Multiple Exposures mode is limited to two exposures and the camera displays a reduced density version of the first shot as a guide for composing the composite image. The Advanced Filters sub-menu includes the following options: Toy camera, Miniature,   Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple). All are JPEG only.

The new ACROS additions to the Film Simulation menu have been added to provide variants of the Monochrome setting. The same four ‘filtrations’ are available: Standard, Yellow, Red and Green. This setting should provide smoother gradation, deeper blacks and better rendition of textures than their equivalents with the regular Monochrome settings.
 

 Monochrome Film Simulation settings available in the X-Pro2 (left to right): top row: ACROS Standard, ACROS Yellow, ACROS Red; middle row: ACROS Green, Monochrome Standard, Monochrome Yellow; bottom row: Monochrome Red, Monochrome Green, Sepia.

Video
The design of the X-Pro2 is not ideal for shooting movie clips but having an EVF for framing movies is better than the point-and-guess shooting DSLR users face when recording movies in bright outdoor lighting. Fujifilm provides a 2.5mm socket which is shared between an accessory microphone and a remote release (you have to tell the camera which one you’ve connected). But there’s no headphone jack for monitoring audio, although you can view the levels of the left and right microphones on the monitor before starting to shoot.

As mentioned in our First Look, although the X-Pro2 is not set up to record 4K movie clips, the new processor is fast enough to support it. Perhaps Fujifilm will add this capability some time down the track via a firmware update.

In the interim, the camera can record movie clips at a maximum resolution of Full HD (1920 x 1080 pixels) and users can choose between 60, 50, 30, 25 and 24 frames/second (fps) for both Full HD and HD (1280 x 720 pixels) clips. VGA resolution isn’t supported. Recordings are made in the   MPEG-4 AVC/H264 codec with Linear PCM/stereo audio and 48KHz sampling.

There’s no dedicated movie button; instead the top panel Fn button is set for movie recording by default. Pressing it starts recording and the viewfinder automatically switches to the EVF. A second press ends the recording. The electronic rangefinder can be used.

Most camera settings can be adjusted during recordings, although exposure compensation is restricted to +/-2EV and sensitivity is limited to the native ISO 200 to ISO 12800 range. The focus mode selector should be set to C (continuous) ““ or S if you want to enable Intelligent Face Detection. Focus peaking is available initially to help you set focus but not once you start recording.

Individual movie clips are restricted to 14 minutes at Full HD resolution or 28 minutes for HD quality. Fujifilm provides an HDMI port for connecting the X-Pro2 to a high-definition TV set, but you’ll have to supply your own cable.

Wi-Fi
The X-Pro2  comes with the same built-in Wi-Fi functions as other current Fujifilm cameras, although there’s no dedicated button for accessing it. You have to use the camera’s menu and/or configure one of the function buttons for Wi-Fi.You must also install the Fujifilm Camera Remote App, which is available for Android and iOS, on the smart-phone or tablet you want to connect so you can gain touch control over camera operations via the smart device’s screen.

This app was recently updated and now enables users to control the camera remotely, copy and resize larger images to 3-megapixels for uploading to smartphones, view location data from the smart-phone and embed it in the image metadata and adjust settings for optional printing on Fujifilm Instax Share printers. You can also set up PC Auto Save to back-up images wirelessly to a computer or to cloud storage.

Playback and Software
 Recorded images and video clips can be played back on the LCD monitor or viewed in the EVF and the X-Pro2 supports the same suite of playback modes as the XPro1. The Photobook assist function, which enables users to select images for assembly into photo books, is also supported.

No software was supplied with the review camera but the product support pages on Fujifilm’s website provide downloads for MyFinePix Studio and the raw file converter, which we suspect is still based upon the problematic Silkypix software. Fortunately, you don’t have to use it as the latest Version of Adobe Camera Raw will open RAF.RAW files from the X-Pro2 in Photoshop or Lightroom.

Performance
Subjective assessments of images captured with the review camera showed them to be similar to shots from other cameras we’ve used that have X-Trans sensors. JPEGs straight from the camera were sharp, colour-accurate and, in the main, well-exposed. Colour reproduction was true-to-life in with the default Provia/Standard setting and the other Film Simulation modes provided relatively subtle adjustments.

Imatest confirmed our subjective impressions and showed the camera to be capable of above-average resolution for both JPEG and RAF.RAW files (which were converted into 16-bit TIFF   format with Adobe Camera Raw) when tested with the Fujinon XF 35mm f/2 R WR lens, the raw files being well above expectations. The graph below shows the comparison between JPEG   and converted RAF.RAW files across the review camera’s ISO range.

 

Shots taken at high ISO settings were consistently clean and noise-free up to ISO 12800. Night shots at higher ISO settings showed signs of progressive softening as sensitivity was increased, largely as a result of noise-reduction processing. However, even shots taken at ISO 25600 were printable at 15 x 10 cm size ““and slightly larger, although by ISO 51200 images were noticeably grainy and colours were rather flat looking.

The auto white balance setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast that characterises incandescent illumination. The tungsten and fluorescent pre-sets corrected both colour casts without overdoing the adjustment.

Manual measurement produced neutral colours under both types of lighting and, in the field, the camera handled mixed lighting situations remarkably well. Plenty of in-camera adjustability is available to fine-tune colour balance.

Autofocusing while shooting still pictures was much faster than we found with the X-Pro1 and the X-Pro2’s system worked well in both bright sunlight and after dark. We had none of the problems with tracking moving subjects that we experienced with the previous camera.

Video has never been a strong feature of Fujifilm cameras with X-Trans CMOS sensors, largely because of the difficulties associated with sub-sampling the more random filtration pattern. The resulting clips were colourful but slightly contrasty.

Since the camera was supplied with a prime lens, we couldn’t evaluate AF performance during zooming. However, while subject tracking was reasonably good, there were times when the camera failed to focus precisely with higher movie resolutions, although clips shot with HD/720p resolution were generally sharp and free from tracking errors.

The camera’s microphones showed similar sensitivity to wind noise to the X-T10’s and, although recording levels can be adjusted in the camera’s menu, like the X-T10, the X-Pro2 has no wind suppression filter. We were unable to test audio performance with an external microphone.

Our timing tests were carried out with an 8GB Fujifilm SDHC Class 10 memory card.   It took just under a second to power the review camera up but it shut down almost instantly.

We measured an average capture lag of 0.3 second, which was eliminated with pre-focusing. Lag times were as long as 0.5 second when the lens was seriously defocused. 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. Shot-to shot times averaged 1.2 seconds.

In the high-speed continuous shooting mode, the review camera recorded 80 full-resolution JPEG images in 10.1 seconds before slowing. This is slightly slower than the specified eight frames/second. It took 21.9 seconds to process this burst.  

When raw file capture was selected, 26 uncompressed frames were recorded in 6.7 seconds. With compressed raw files, the buffer memory filled at around the 31st frame. It took more than 30 seconds to process these bursts.

Conclusion
The X-Pro2 gives Fujifilm a new flagship model that will be welcomed by photographers who appreciate the company’s nouveau-retro body design, solid construction and traditional controls. Improvements to the control layout and menu design will also be appreciated, as will the addition of another SD card slot and support for UHS-II cards.

The new, higher-resolution sensor appears to be a big plus and the improvements to the autofocusing system will be noticeable to users of the original X-Pro1. So will the upgrading of the hybrid viewfinder, which is arguably the best of its type currently.

The more durable shutter mechanism and 1/8000 second top shutter speed plus the faster (1/250 second) flash synch as well as the new compressed raw file format make the camera more versatile than its predecessor.  The body of the new camera feels a bit more solid than its predecessor (which was itself very well put together).

We’re less certain of the value of the new ACROS File Simulation settings, although they will probably appeal to photographers who only shoot JPEGs. Raw shooters are likely to find them a bit limited.

The improvements to video capabilities are relatively minor and consist mainly of adding a few new frame rates. But, as we noted, video has never been a key features of cameras with X-Trans sensors so most potential buyers should be OK with the camera’s limitations.

One area that concerns us is the price of the camera which, at AU$2699 (RRP) is roughly AU$350 higher than the US price at current conversion rates. If you shop around you’ll find some reputable local resellers   offering the camera at discounted prices; typically around AU$2500, which is still above the US price.

Fujifilm’s cameras seem to hold their value well, probably because they are solidly built. When it was launched, the X-Pro1 had an RRP of AU$1799. It’s now selling for just under $1500, which isn’t much of a discount over four years.

Photographers who are happy with 16-megapixel resolution and don’t need the hybrid viewfinder could find the X-T10  an attractive alternative. It’s smaller and lighter, has a decent EVF and comes at just over a third of the price of the X-Pro2. Like the X-Pro2, the X-T10 is now supported by third-party raw converters, which means you can extract the maximum quality from raw files instead of having to put up with inferior bundled software.  

 

SPECS

 Image sensor: 23.6 x 15.6 mm  X-Trans CMOS III sensor with 24.3 megapixels effective
 Image processor:  EXR Processor II
 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), RAW (RAF format), RAW+JPEG; Movies: MPEG-4 AVC/H264 with Linear PCM/stereo audio, 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: [Full HD] 1920 x 1080 at 60p, 50p, 30p, 25p or 24p up to 14 min; [HD] 1280 x 720 at 60p, 50p, 30p, 25p or 24p up to 28 min
 Image Stabilisation: Supported with OIS type lenses
 Dust removal: Ultra Sonic vibration
 Shutter (speed range): Focal-plane shutter; Mechanical – 1/8000 to 30 sec., Bulb up to 60 min; Electronic – 1/32000 to 1 sec.; flash synch at 1/250 sec. or slower
 Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
 Exposure bracketing: +/-2EV, +/-5/3EV, +/-4/3EV, +/-1EV, +/-2/3EV,+/-1/3ev
 Other bracketing options: Film Simulation (any 3 types), Dynamic Range, ISO sensitivity, White Balance
 Self-timer: 2 or 10 seconds delay
 Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF) with single-point, adjustable size (5 types), Zone AF and Wide/Tracking AF (up to 18 areas)
 Focus modes: Single, continuous, manual focus
 Exposure metering:   TTL 256-zone metering with Multi, Centre-weighted and Spot metering patterns
 Shooting modes: Program AE, Aperture-priority AE, Shutter-priority AE, Manual exposure
 Film Simulation modes: 15 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, ACROS＋R Filter, ACROS＋G Filter)
 Dynamic Range settings: AUTO, 100%, 200%, 400%; ISO restriction: DR100% – No limit, DR200% – ISO400 or more, DR400% – ISO800 or more
 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: sRGB and Adobe RGB
 ISO range: Auto (up to ISO 12800), ISO 200-12800 in 1/3 Steps; Extension to ISO 100, ISO 25600, ISO 51200   available
 White balance: Automatic Scene recognition, Fine, Shade, Fluorescent (x3), Incandescent, Underwater, Custom (x3)  
 Flash: External flash only (Dedicated TTL Flash compatible)
 Flash modes: Auto, Forced Flash, Slow Synchro, Suppressed Flash, Rear-curtain Synchro, Commander; red-eye reduction is available
 Sequence shooting: Max. 8 shots/sec. 3.0 fps also available  
 Buffer capacity: Max. 83 Large/Fine JPEGs, 33 losslessly compressed RAW frames or   27 uncompressed RAW frames
 Storage Media: Single slot for SD, SDHC, SDXC cards (UHS-I/UHS-II compatible)
 Viewfinder: Hybrid optical/EVF; reverse Galilean optical viewfinder with electronic bright frame display; approx.92% coverage of frame area,   magnifications approx 0.36x or 0.60x; 0.48-in TFT colour EVF with approx 2.36 millions dots (4:3), approx. 100% coverage, 16 mm eyepoint, -4 to +2 dpt adjustment, 0.59x magnification with 50mm lens,  
 LCD monitor: Fixed 3-inch 3:2 aspect ratio TFT LCD with approx. 1.62 million dots
 Interface terminals: USB 2.0 / micro USB, HDMI micro, 2.5mm stereo mini connector for microphone /   remote shutter release
 Wi-Fi function: IEEE 802.11b/g/n, WEP / WPA / WPA2, Infrastructure mode; supports Geotagging, Wireless communication (Image transfer), View & Obtain Images, Remote camera shooting, PC Autosave, instax printer print
 Power supply: NP-W126 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 250/350 shots/charge with EVF/OVF
 Dimensions (wxhxd): Approx. 140.5 x 82.8 x 45.9 mm (excluding protrusions)
 Weight: Approx. 445 grams (body only); 495 grams with battery and card

 

TESTS

 

For JPEG files.

For RAF.RAW files processed with Adobe Camera Raw.

 

 

SAMPLES

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

 Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

 

 30-second exposure at ISO 100, f/2.
 

25-second exposure at ISO 200, f/2.5.
 

12-second exposure at ISO 1600, f/4.
 

10-second exposure at ISO 6400, f/5.6.
 

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

2-second exposure at ISO 25600, f/9.
 

2-second exposure at ISO 51200, f/13.  
 

ISO 200,1/1000 second at f/7.1.

 

ISO 800, 1/25 second at f/4.5.

 
 ISO 400, 1/8000 second at f/4.
 

ISO 200,1/2000 second at f/5.6.

   
ISO 400,1/200 second at f/4.5.
 

ISO 800,1/250 second at f/6.4.

 
ISO 400,1/125 second at f/5.

 
 ISO 100,1/500 second at f/8.
 

ISO 400,1/100 second at f/5.
 

ISO 1000,1/15 second at f/5.6.

 
 ISO 500,1/100 second at f/4.5.  

Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 50 fps.

 
 Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 30 fps.
 

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

 
Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 24 fps.
 

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

 
Still frame from HD (1280 x 720 pixels) video clip recorded at 30 fps.
 

Still frame from HD (1280 x 720 pixels) video clip recorded at 25 fps.
 

Still frame from HD (1280 x 720 pixels) video clip recorded at 24 fps.

Additional image samples can be found with our review of the Fujinon XF 35mm f/2 R WR lens.

 

Rating

RRP: AU$2699; US$1699 (body only)

• Build: 9.0
• Ease of use: 8.8
• Autofocusing: 8.8
• Still image quality JPEG: 8.8
• Still image quality RAW: 9.2
• Video quality: 8.5

 

Buy