In summary
The inclusion of an EVF puts the X-T100 in a class above the X-A5 and makes it a more worthwhile purchase for outdoor photographers in the Southern Hemisphere, where bright sunlight can make monitor screens unreadable.
We can recommend the X-T100 to amateur photographers who are looking for an entry-level interchangeable-lens camera with plenty of automated functions and facilities for capturing images and movie clips to share on social networks. The X-T100’s built-in Wi-Fi and low-power Bluetooth make sharing easy via a connected smart device.
The camera’s 4K video capabilities have a frame rate of 15 fps, which won’t cut it with keen movie shooters. Aside from that, the X-T100 kit is well worth a look. It’s compact and light enough to take anywhere, whether for travelling or simple snapshooting.
Full review
Hot on the heels of our review of the Fujifilm X-A5 comes the review of the similarly-targeted X-T100, which has the same sensor and processor but includes a built-in 0.39-inch OLED EVF with 2,360,000 dots and a pull out and tilt 3-inch touchscreen monitor. The retro-styled body of the X-T100, weighs only 448 grams and it is available in three colour variations: Black, Dark Silver and Champagne Gold. We received the black version of the camera, along with the bundled Fujinon XC15-45mm f/3.5-5.6 OIS PZ electronic zoom lens, which is reviewed separately.
Angled front view of the Fujifilm X-T100 (silver version). (Source: Fujifilm.)
Who’s it for?
Like the X-A5, the X-T100 is designed for snapshooters who want better image quality and greater shooting versatility than their smartphones provide. The addition of a built-in EVF and more adjustable monitor plus the increased buffer capacity place it in a class above the X-A5, although otherwise both cameras share almost all of the same shooting functions. This is reflected in the pricing of both cameras, with the X-T100’s RRP being AU$150 higher than the X-A5’s.
While the X-T100 retains the SLR-like styling of the X-T20 and offers the same 24.2-megapixel effective resolution, its sensor uses the same Bayer colour filter array as the X-A5; not the more advanced X-Trans CMOS III found in the X-T20. Its continuous shooting speed is up to six frames/second; the same as the X-A5’s, which is less than half the top rate of the X-T20.
Buffer capacities are more than 100 JPEGs for the X-T20, 26 JPEGs for the X-T100 and 10 JPEGs for the X-A5. All three cameras appear to use the same NP-W126S rechargeable battery but the X-T100 and X-A5 boast capacities of 430 shots/charge and 450 shots/charge, respectively, while the X-T20 is rated for only 350 shots/charge.
All three cameras can record 4K video but only the X-T20 supports a frame rate of 30 frames/second (fps). The X-T100’s frame rate is the same as the X-A5’s at only 15 frames/second but its maximum clip length extends from only 5 minutes for the X-A5 to around 30 minutes, with the same clip limit applying to Full HD movie clips.
Build and Ergonomics
Despite the superficial resemblance to the X-T20, the X-T100 is slightly larger and heavier although its body is made from aluminium and polycarbonate plastic, while the X-T20’s is magnesium alloy. The anodised aluminium coating on the top plate looks and feels quite classy, particularly on the all-black model we received to review.
Front view of the X-T100 (silver version) with flash raised and the XC15-45mm kit lens fitted. (Source: Fujifilm.)
The front panel of the camera is completely flat, with only the lens mount and lens release button to interrupt the ‘bar of soap’ shape. A small LED is inset above and to the right of the lens mount to perform the dual roles of AF-assist and self-timer lamp.
Top view of the X-T100 (silver version) with the 15-45mm kit lens fitted. (Source: Fujifilm.)
The top panel carries the mode dial, which sits to the right of the EVF housing/pop-up flash. It has the same settings as the dial on the X-A5 and moves in click-stops when different modes are selected.
To the right and in front of the mode dial is the combined shutter button and power on/off lever, with the small movie recording button further right and close to the front of the panel. Behind it lies the main command dial, which is used to adjust key exposure settings. A single Function (Fn) button, which can be set to access one of 31 functions, is located between the command and mode dials.
To the left of the EVF housing/pop-up flash is the Function dial which is used to adjust settings for the function assigned to the Fn button. The function performed depends on the selected shooting mode, with the default settings shown in the table below.
|
Mode |
Description |
|
Adv. (Advanced Filter) |
Filter selection |
|
SP (Scene Position) |
Scene selection |
|
Advanced SR auto and mode dial scene presets |
Self-timer |
|
Portrait mode |
Portrait enhancer level selection |
|
P, A, S, M and Panorama modes |
Film Simulation |
There’s a small lever switch beneath this dial, which is used for popping up the flash. The flash is pushed down manually.
The rear panel of the X-T100 (silver version). (Source: Fujifilm.)
This illustration shows the outward tilt of the X-T100’s monitor, which also extends through almost 180 degrees to the side of the camera. (Source: Fujifilm.)
The three-way tilting LCD monitor dominates the rear panel of the X-T100, with the EVF eyepiece prominent above it. The 0.39-inch OLED EVF is the same as the EVF in the X-T20. It has a resolution of 2,360,000 dots, with 100% frame coverage, a 17.5 mm eyepoint and 0.62x magnification plus a built-in eye sensor.
There’s a notch in the camera body at the lower right hand corner of the screen to make it easy to adjust. While there’s no grip moulding on the front of the camera, there’s a nice little thumb rest on the back with a sub-command dial half embedded in it.
This dial is used for a variety of functions including program shift, aperture adjustments and zoom functions during playback. When pushed in, it can select focus assist function for manual focusing, release the shutter in selfie mode and zoom in on the active focus point in playback.
Below the thumb rest is a conventional arrow pad with directional buttons accessing the AF, WB continuous drive and self-timer settings. Its central Menu/OK button is self-explanatory. Below the arrow pad is a Display/Back button, while above the monitor to the right of the EVF housing is the Q (Quick menu) button, with the Play and Delete buttons on the left.
A flip-up cover on the right hand side panel protects the USB and HDMI ports, the former being used for charging the battery. A smaller cover on the left side protects the 2.5mm microphone/remote control port.
The battery and card compartment is in the usual place in the base of the camera, on the right hand side. beside this compartment is a metal-lined tripod socket, which is not aligned with the lens axis.
Sensor and Image Processing
Both are the same as in the X-A5 and covered in our review of that camera. The main difference between the cameras is the buffer memory for continuous shooting, which is supported at up to 6 fps. The X-A5’s buffer memory can only hold 10 JPEGs, while the X-T100’s is able to hold roughly 26 JPEGs before capture rates are affected.
Video capabilities are similar to the X-A5’s, with a maximum frame rate of 15 fps but continuous recording for up to 30 minutes, compared with only five minutes in the X-A5. The X-T100 includes the same High Speed Movie mode, with HD recording at 1280 x 720 pixels for playback speed reduced by between 2x and 4x. Clips can be up to seven minutes in length.
Wi-Fi and Bluetooth
Bluetooth low energy technology has been added to the Wi-Fi functions found in all current Fujifilm cameras. In conjunction with the Fujifilm Camera Remote app (a free download for Android and iOS devices) it enables seamless transfer to smart devices, with constant automatic image transfer even while in shooting mode, allowing images to be shared and uploaded at a moments’ notice.
Playback and Software
Essentially, both are the same as the X-A5‘s and covered in our review of that camera. The X-T100 wasn’t supported by Adobe Camera Raw, our preferred raw file converter, when we began this review but an update on 19 June added the X-T100 to the list of cameras supported, making it unnecessary to resort to the Silkypix-based software provided free by Fujifilm, which we have consistently found produced inferior results.
Performance
The results of our Imatest tests were similar to those we obtained with the Fujifilm X-A5 camera we were reviewing at the same time. This isn’t surprising since both cameras have the same 24-megapixel sensor and processor and both come with the Fujinon XC15-45mm f/3.5-5.6 OIS PZ kit lens, which is reviewed separately. With JPEG files, the highest resolution for the camera+lens were slightly closer to expectations than similar files from the X-15, remaining close for ISO settings up to ISO 1600.
ARW.RAW files delivered slightly higher resolution than similar files from the X-A5, with centre-of-frame resolution comfortably exceeding expectations for ISO settings up to ISO 1600. The graph below shows the results of our tests.
Low light performance was similar to the X-T20‘s with little in the way of noise up to ISO 3200, where traces of image softening were just detectable, although there was little visible noise. From ISO 6400 onwards, we found a gradual deterioration in sharpness, but even at ISO 51200 shots would be usable at small output sizes.
Interestingly, exposure levels remained relatively constant throughout the camera’s sensitivity range. And, as with the X-T20, exposures from the X-T100 retained their colour saturation and accuracy throughout the available sensitivity range.
Flash performance was very good and shots taken with the built-in flash were evenly exposed and retained their colour saturation and accuracy throughout the sensitivity range. We found noticeable (about 1.5 stops) under-exposure at ISO 100, which had been addressed by ISO 200.
Thereafter, exposure levels remained constant until ISO 25600, where there was a noticeable loss of contrast and slight increase in exposure level. By ISO 51200, images were visibly softened and lacking in contrast.
White balance performance was similar to the results we obtained from the X-A5, which isn’t surprising since both cameras have the same presets and adjustments for correcting colour casts before shooting. The auto setting produced close-to-neutral colours under fluorescent illumination but, as expected, failed to eliminate the orange cast from incandescent and LED lighting.
There’s no preset for LED lighting but the tungsten and fluorescent pre-sets slightly over-corrected both colour casts introducing a purple bias in each case. Flash exposures had close to neutral colours in auto mode so no correction was needed. Manual measurement produced neutral colour rendition with all three types of lighting.
Autofocusing performance was mostly fast when the single-point mode was used in bright conditions, although it could slow a little in low light levels and with low-contrast subjects. Without a suitable telephoto lens, we can’t confirm whether the system is fast enough for shooting sports or birds in flight.
We were a little disappointed by the quality of the movies we obtained from the review camera, which were often slightly unsharp in places and contained a few minor glitches. The unsharpness is could be attributable to delays in re-focusing when subject distances changed caused by the relatively slow response times of the Fujinon XC15-45mm f/3.5-5.6 OIS PZ kit lens we used.
Audio quality was up to expectations, given the small size of the camera’s microphones. We were unable to test audio performance with an external microphone.
We carried out our timing tests with a 32GB SanDisk SDHC UHS-1 U1 card which has a maximum write speed of 45 MB/second and is fast enough to support 4K movie recording. The review camera took roughly three seconds to both power-up and shut down, both of which are much longer than Fujifilm’s specifications. Much of the slowing is likely to be caused by the lens extending and retracting. We measured an average capture lag of 0.45 seconds, which was eliminated with pre-focusing.
Shot-to-shot times averaged 1.2 seconds, which is significantly slower than the X-T20. Going by the indicator light on the rear panel, it took just over one second on average to process each JPEG file and 1.2 seconds for each RAF.RAW file and RAW+JPEG pair.
With flash, the shot-to-shot times were a little longer, averaging 3.9 seconds
In the continuous high-speed shooting mode, the review camera recorded 37 high-resolution JPEGs in 5.1 seconds before slowing, which is roughly 6.5 frames/second. It took 12 seconds to process this burst.
The capture rate began to slow once the camera had recorded 16 RAF.RAW files, which were captured in 3.1 seconds in the continuous high mode, representing a frame rate of 5.2 fps. Processing time for this burst was 12.3 seconds. The buffer memory was also able to accommodate 16 RAW+JPEG frames, which were captured in 3.2 seconds. It took 15.9 seconds to process this burst.
In the 4K burst mode the camera recorded a continuous burst of 50 8-megapixel JPEGs in 3.5 seconds without showing any signs of slowing. This equates to a frame rate of approximately 15 fps, which is the same as the 4K movie frame rate.
Conclusion
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SPECS
Image sensor: 23.5 x 15.7mm CMOS sensor with 24.2 megapixels effective, Bayer colour filter
Image processor: Not specified
A/D processing: Not specified
Lens mount: Fujifilm X-mount
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (Exif Ver 2.3), RAF.RAW, RAW+JPEG; Movies: MOV with H.264 compression & Linear PCM stereo audio
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; Motion Panorama: 180 °: Vertical: 2160 x 9600 / Horizontal: 9600 x 1440; 120 °: Vertical: 2160 x 6400 / Horizontal: 6400 x 1440; Movies: 4K 3840 x 2160 15p, 1920 x 1080 59.94p / 50p / 24p / 23.98p, 1280 x 720 59.94p / 50p / 24p / 23.98p, High Speed Movie: 1280×720 1.6x / 2x / 3.3x / 4x
Image Stabilisation: Only available with OIS type lens
Dust removal: Ultra Sonic Vibration
Shutter: Focal plane Mechanical shutter – 30 to 1/4000 second; Electronic Shutter – 30 sec. to 1/32000 sec.; Bulb mode (up to 60 min) and Time mode available; flash sync at 1/180 sec.
Exposure Compensation: +/-5 EV in 1/3EV or 1/2EV steps (+/-2EV for movies)
Exposure bracketing: 2/3/5/7 frames across +/1/3EV to +/3EV in 1/3EV steps
Other bracketing options: Film Simulation Bracketing (Any 3 types of film simulation selectable), Dynamic Range Bracketing (100% · 200% · 400%)
ISO sensitivity Bracketing (+/-1/3EV, +/-2/3EV, +/-1EV), White Balance Bracketing (+/-1, +/-2, +/-3)
Self-timer: 2 or10sec. delay plus Smile / Buddy (LV.1 – LV.3) / Group (1-4 subjects) / Face Auto Shutter modes
Intervalometer: Yes, for time-lapse movies
Focus system: 91-point Intelligent Hybrid AF: TTL contrast AF / TTL phase detection AF, AF assist illuminator available
Focus modes: Single AF, Continuous AF, MF, AF+MF; Single point AF: 7×13 (Changeable size of AF frame among 5 types), Zone AF: 3×3 / 5×5 / 7×7 from 91 areas on 7×13 grid, Wide/Tracking AF: (up to 18 areas)
Exposure metering: TTL 256-zone metering with Multi, Spot and Average metering patterns
Shooting modes: Advanced SR Auto, P, S, A, M, Night, Sports, Landscape, Portrait Enhancer, SP (Scene Position), Adv., Panorama
Scene Position modes: Portrait, Night, Portrait, Fireworks, Sunset, Snow, Beach, Party, Flower, Text, Multiple Exposures
Film Simulation modes: Provia/STANDARD, Velvia/VIVID, Astia/SOFT, Classic Chrome, PRO Neg Hi, PRO Neg. Std, Monochrome, Monochrome+Ye Filter, Monochrome+R Filter, Monochrome+G Filter, Sepia
Advanced filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Fish-eye, Soft focus, Cross screen, Partial colour (Red / Orange / Yellow / Green / Blue / Purple), Fog remove, HDR Art
Colour space options: Adobe RGB, sRGB
ISO range: Auto (x3), ISO 200 to 12800 in 1/3EV steps plus extension to ISO 100, ISO 25600 and ISO 51200
White balance: Automatic Scene recognition / Custom1-3 / Colour temperature selection (2500K-10000K) / Preset: Fine, Shade, Fluorescent light (Daylight/Warm White/Cool White), Incandescent light, Underwater
Flash: Manual pop-up flash, GN Approx 5 (ISO100/m)
Flash modes: Auto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-curtain Synchro, Commander; Red-eye removal is available
Flash exposure adjustment: +/- 2EV in 1/3EV steps
Sequence shooting: Max. 6 frames/sec.
Buffer capacity: 26 JPEG
Storage Media: SD, SDHC, SDXC cards (UHS-I compatible)
Viewfinder: 0.39-inch OLED colour EVF with 2,360,000 dots, 100% frame coverage, 17.5 mm eyepoint, 0.62x magnification, built-in eye sensor
LCD monitor: Pull out and tilt 3.0-inch, 3:2 aspect ratio TFT colour LCD monitor with approx. 1,040,000 dots and touch screen capabilities
Playback functions: RAW conversion, Image rotate, Auto image rotate, Face Detection, Red-eye reduction, Photobook assist, Erase selected frames, Multi-frame playback (with micro thumbnail), Slide show, Protect, Crop, Resize, Panorama, Favourites
Interface terminals: micro USB 2.0, HDMI Micro connector (Type D), 2.5 mm 3-pole mini jack for microphone
Wi-Fi function: IEEE 802.11b / g / n (standard wireless protocol); Bluetooth Ver. 4.1 (Bluetooth low energy); Geotagging setup, Image transfer (Individual image/Selected multiple images), View & Obtain Images, PC Autosave, instax Printer Print, Pairing registration, Delete pairing registration, Bluetooth ON/OFF setting, Auto image transfer
Power supply:NP-W126S rechargeable Li-ion Battery Pack; CIPA rated for approx. 430 shots/charge
Dimensions (wxhxd): 210 x 830 x 474 mm
Weight: Approx. 448 grams (including battery and card)
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au.
TESTS
Based on JPEG files captured with the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ lens.
Based on RAF.RAW files captured at the same time and converted with Adobe Camera Raw.
Samples
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with LED lighting.
Auto white balance with flash lighting.
30-second exposure at ISO 100, 36mm focal length, f/5.6.
20-second exposure at ISO 200, 36mm focal length, f/6.4.
10-second exposure at ISO 800, 36mm focal length, f/9.
8-second exposure at ISO 3200, 36mm focal length, f/16.
5-second exposure at ISO 6400, 36mm focal length, f/18.
3-second exposure at ISO 12800, 36mm focal length, f/20.
2-second exposure at ISO 25600, 36mm focal length, f/22.
1-second exposure at ISO 51200, 36mm focal length, f/22.
Flash exposure at ISO 100, 45mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 400, 45mm focal length, 1/60 second at f/5.6
Flash exposure at ISO 800, 45mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 3200, 45mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400, 45mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800, 45mm focal length, 1/70 second at f/5.6.
Flash exposure at ISO 25600, 45mm focal length, 1/80 second at f/5.6.
Flash exposure at ISO 51200, 45mm focal length, 1/170 second at f/5.6.
Close up at 45mm; ISO 200, 1/150 second at f/5.6.
Close up at 45mm: ISO 200, 1/350 second at f/5.6.
33mm focal length, ISO 800, 1/25 second at f/6.4.
Strong backlighting; 15mm focal length, ISO 200, 1/800 second at f/16.
Wide brightness range subject; 15mm focal length, ISO 200, 1/150 second at f/4.
45mm focal length, ISO 200, 1/80 second at f/5.6.
15mm focal length, ISO 200, 1/25 second at f/3.5.
45mm focal length, ISO 400, 1/200 second at f/8.
45mm focal length, ISO 400, 1/420 second at f/9.
45mm focal length, ISO 200, 1/240 second at f/5.6.
15mm focal length, ISO 400, 1/125 second at f/6.4.
25mm focal length, ISO 200, 1/420 second at f/7.1.
35mm focal length, ISO 200, 1/45 second at f/5.
Still frame from 4K (3840 x 2160 pixels) movie clip, recorded at 15 fps.
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 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 24 fps.
Still frame from high-speed video clip recorded at 2x 50p speed.
Still frame from high-speed video clip recorded at 4x 50p speed.
Additional image samples can be found with our review of the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ lens.
Rating
RRP: $1049; US$699.95 (with XC 15-45mm f/3.5-5.6 OIS PZ lens)
- Build: 8.9
- Ease of use: 8.5
- Autofocusing: 8.5
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 8.5
