In summary
The flagship models in Fujifilm’s X Series have become increasingly popular with professional photographers and photojournalists and the X-T2 has all the features needed for such users.
It will also appeal to serious enthusiasts who want the advantages of a mirrorless APS-C camera with a traditional stills-focused control layout ““ and also 4K movie support.
As with all Fujifilm’s X-series cameras, the X-T2 has solid construction and traditional control layout.
The 24.3-megapixel X-Trans III sensor has confirmed its high quality image capabilities in our tests, and the improvements to the autofocusing system will be noticeable to users of the original X-T1.
Full review
Announced on 7 July, Fujifilm’s X-T2 interchangeable-lens mirrorless camera follows in the steps of the X-T1 but brings higher resolution, improved autofocusing and superior movie recording capabilities to a camera with an SLR-like body design. Equipped with the same 24.3-megapixel X-Trans CMOS III sensor as the X-Pro2, it will sit beside that camera at the top of Fujifilm’s line-up.
Angled view of the Fujifilm X-T2 with the 18-55mm kit lens. (Source: Fujifilm.)
The new camera has a splash-resistant body made mainly from magnesium alloy. With sealing at 63 points to achieve a high level of resistance to dust and moisture, the X-T2 can operate in temperatures as low as -10 degrees Celsius, making it suitable for use in challenging conditions. No low-pass filter covers the image sensor, enabling Fujifilm to claim the camera can deliver ‘the highest performance in the history of X Series’.
The camera is supplied with the NP-W126S lithium-ion battery pack, BC-W126 battery charger and EF-X8 flash (GN 11 m.ISO 200) as well as a body cap, shoulder strap, strap clip, clip attaching tool, protective cover, hot shoe cover, vertical power booster grip connector cover, sync terminal cover and owner’s manual. It comes in a handsome black box with a separate cover sleeve.
We received the review camera with two lenses: the Fujinon XF 14mm f/2.8 R and the Fujinon XF 50-140mm f/2.8 R LM OIS WR telephoto zoom lens. Both lenses have been reviewed separately. The 14mm f/2.8 R prime lens was used for our Imatest tests. We also received the optional VPB-XT2 vertical power booster grip.
Who’s it For?
The flagship models in Fujifilm’s X Series have become increasingly popular with professional photographers and photojournalists and the X-T2 has all the features needed for such users. It will also appeal to serious enthusiasts who want the advantages of a mirrorless APS-C camera with a traditional stills-focused control layout ““ but also 4K movie support.
Choosing between the X-T2 and the X-Pro2 (which have the same sensor and image processor) will depend on which body styling you prefer and whether you need 4K movie recording at the level the X-T2 provides. The table below compares the X-T2 with the original X-T1 and the X-Pro2.
|
|
X-T2 |
X-T1 |
X-Pro2 |
|
Body style |
SLR-like |
Rangefinder-like |
|
|
Effective resolution |
24.3MP |
16.3MP |
24.3MP |
|
Image processor |
X Processor Pro
|
EXR Processor II |
X Processor Pro |
|
Max. image size |
6000 x 4000 |
4896 x 3264 |
6000 x 4000 |
|
Max. video resolution |
3840 x 2160 px |
1920 x 10870 px |
|
|
Native ISO range |
ISO 200-12800 |
ISO 200-6400 |
ISO 200-12800 |
|
Max. ISO range |
ISO 100-51200 |
||
|
Max. burst rate |
14 fps with electronic shutter; 11 fps with optional grip, 8 fps with AF |
8fps with AF |
|
|
AF system |
Hybrid AF, 325 points (169 with phase detection) |
Hybrid AF, 49 area |
Hybrid AF, 273 points (169 with phase detection) |
|
Storage media |
Dual slots for SD/SDHC/SDXC, UHS-I / UHS-11 compatible |
Single slot for SD/SDHC/SDXC, UHS-I / UHS-11 compatible |
Dual slots for SD/SDHC/SDXC, UHS-I, Slot 1 UHS-11 compatible |
|
Monitor |
Two-way tilting (horizontal & vertical) 1,040,000 dots |
Vertical tilting 1,040,000 dots |
Fixed 1,600,000 dots |
|
Viewfinder |
EVF with 2,360,000 dot OLED, 0.77x magnification, 100% coverage, 23 mm eyepoint |
Hybrid optical/EVF, 2,360,000 dot OLED, 0.6x magnification, 92% coverage, 16 mm eyepoint |
|
|
USB interface |
USB 3.0 |
USB 2.0 |
|
|
Battery / capacity |
NP-W126S / 340 shots/charge |
NP-W126 / 350 shots/charge |
|
|
Dimensions |
132.5 x 91.8 x 49.2 mm |
129.0 x 89.8 x 46.7 mm |
140.5 x 82.8 x 45.9 mm |
|
Weight (with battery) |
507 grams |
440 grams |
495 grams |
One feature of the camera’s design that might appeal to photographers who take a lot of night shots is the provision of two settings for long exposures. Because the shutter speed dial stops at one-second exposures you must use the T or B setting on the dial whenever longer exposure times are required.
To use either mode, the camera should be mounted on a tripod to prevent blurring. Use of a remote release is recommended and you can use either the optional RR-90 wired remote or the shutter button has a standard threading to accept a standard cable release.
With the T (time) setting, the shutter button must be pressed down for the duration of the exposure. A countdown timer is displayed on the monitor screen while the exposure is continued. Releasing the shutter button ends the exposure.
The B (bulb) setting requires you to trip the shutter manually to start and end the exposure. It also includes an on-screen display showing the time elapsed since the exposure started. Setting the aperture ring to A fixes the shutter speed at 30 seconds. Otherwise, the shutter will remain open for up to 60 minutes while the shutter remains pressed.
Build and Ergonomics
The X-T2’s body is larger and heavier than its predecessor’s and features a number of design modifications as well as internal developments. Superficially, the X-T2 carries on the X-T1’s body design, including the weather-sealed, die-cast magnesium body and the array of manual control dials. The grip is a little larger and there’s a generous thumb notch on the rear panel to ensure stable and secure handling.
Front view of the X-T2 with no lens fitted. (Source: Fujifilm.)
Once again, the front panel is dominated by the lens mount and controls are sparsely scattered around it. They include the lens release button on the lower grip side edge of the lens mount, the second function button (Fn2) between it and the AF-assist/self-timer LED, the focus mode selector on the opposite side of the lens mount to the release button and the flash sync terminal (with removable cover) above it.
The front command dial slots into the lower section of the top panel, just below the combined shutter release button and on/off switch. The top panel dials are in the same positions as the X-T1’s, with the stacked ISO/drive dials left of the viewfinder/hot-shoe housing and the shutter speed and exposure compensation dials on the right hand side. There’s another function button (Fn1) between these two dials.
The top panel of the X-T2. (Source: Fujifilm.)
One difference between the X-T2 and its predecessor is the absence of a movie button on the new model. This function has been added to the drive dial as a dedicated Movie Mode. When this mode is selected, recording is started and stopped by pressing the shutter release button.
Fujifilm has made a couple of small but significant changes to the top panel controls to make them easier to use. For starters, the ISO and stacked shutter speed/metering mode dials are larger and slightly taller. The shutter speed dial has been moved forward to make it less susceptible to accidental re-setting. When unlocked, all three dials move with a more pronounced click, which makes it easier to check their status. The shutter speed dial doesn’t lock automatically when the ‘A’ setting is selected.
The rear panel of the X-T2. (Source: Fujifilm.)
The monitor screen on the rear panel is the same as the X-T1’s, with a resolution of 1.04 million dots and the ability to be tilted up into a horizontal position and down through about 45 degrees for above the head shooting. It can also be tilted in both directions when the camera is held vertically (a new feature) but it still doesn’t include touch-screen capabilities.
This illustration shows the adjustable monitor with a menu page displayed. (Source: Fujifilm.)
Also unchanged (except for a larger rubber eyecup) is the OLED electronic viewfinder (EVF), which has a resolution of 2.36 million-dots and a fast refresh rate of 100 fps plus a display time lag of 0.005 seconds. Viewfinder blackout has been halved, enabling up to 5fps during continuous shooting in the Live View mode.
The 23 mm eyepoint of the EVF provides decent relief for photographers who wear glasses and its 0.77x magnification is high enough to provide a clear view. The dioptre adjustment range of -4 to +2 dpt should be wide enough to suit most users.
Most of the remaining controls to the right of the monitor are unchanged, although the Focus Assist button on the X-T1 has been replaced by moving the Quick Menu button up. Its place is taken by a new multi-directional joystick button, similar to the one on the X-Pro2. It can be used to move the focus point around the screen as well as for navigating the camera’s menus. If you press it in, you can change the size of the focusing area by rotating the front or rear command dial.
The directional buttons on the arrow pad sit a little higher and are easier to operate than those on the X-T2. Finally, the front and rear command dials can be pushed in, like the equivalent dials on the X-Pro2, to switch between aperture and exposure compensation settings, zoom in on a selected focus area or choose the manual focus mode display.
The X-T2’s dual card slots. (Source: Fujifilm.)
Replacing a single card slot on the right hand side panel are dual SD slots, which can accommodate the fast UHS II speed class 3 memory cards that are recommended for recording movies. The cover to this compartment is hard plastic with a locking switch.
The various interface ports are located in a single compartment on the opposite side panel. From the top they are the 3.5 mm microphone jack, the Micro USB 3.0 connector, the HDMI micro port and the remote release connector. The cover to this compartment is also made from hard plastic but it lacks a locking switch.
On the base plate you’ll find the battery compartment, a metal-lined tripod socket (in line with the optical axis of the lens) and a rubber covered interface for the optional VPB-XT2 vertical power booster grip. This accessory has been designed specifically for the X-T2 and can accommodate two additional batteries, providing enough power for roughly 1000 shots when three batteries are installed (including the one in the camera). The camera can display the capacity level of each battery separately and you can charge the batteries in the grip via a supplied AC adapter.
The grip also includes a number of camera controls that allow the camera to be operated vertically. Hence you’ll find duplicated shutter, Quick Menu and function buttons as well as front and rear control dials, AF and AE lock buttons and a focus lever stick. An additional feature is a 3.5 mm headphone jack, which is missing from the camera.
What’s New?
Aside from the higher-resolution sensor (which has been covered in detail in our review of the X-Pro2, improvements to the autofocusing system and the introduction of 4K movie recording are the main advances in the X-T2, along with support for a faster USB 3.0 interface. These features differentiate the X-T2 from the X-Pro2, which uses the same sensor and processor chip.
The X-T2’s hybrid phase/contrast detect AF system has many more focusing points than its predecessor. When you select the Focus Area mode in the camera’s menu, the screen displays an array of tiny squares in a 13 x 7 array (a total of 91 points), covering roughly 65% of the frame. The central 7 x7 grid comprises phase-detection points, which cover almost 40% of the frame.
What happens next depends on which AF mode you choose. If you select the Zone AF mode, you can choose from 3×3, 5×5 or 7×7 clusters of points within the whole 25 x 13 point array, which is displayed on the screen when you press the AF joystick button. In Single AF mode, any of these 325 points can be selected by moving the joystick.
The full 325-point array is used in the Wide/Tracking modes, which combine the Wide mode (in AF-S) with the Tracking mode (when AF-C is selected). In AF-S mode, the control algorithms will automatically identify and track the area in focus within the array of the points. In AF-C mode, the camera continuously tracks the subject, keeping it within the centre of the frame.
There has been an improvement in both lock-on and tracking speeds, enabling Fujifilm to claim the camera can find focus in as little as 0.06 seconds. Additionally, there are now five AF presets that let users determine how the camera reacts to the speed and/or direction of subject movements within the frame and where the camera prioritises focus within the frame. Users can also create and store up to six customised settings by adjusting tracking sensitivity, speed tracking sensitivity and zone area switching parameters.
Like the X-Pro2, the X-T2 also includes Face and Eye Detection AF with the ability of the photographer to priorities focus for the right or left eye or the eye closer to the camera. Like the AF-S and AF-C modes, manual focusing is engaged via the focusing switch on the camera’s front panel and users can take advantage of a number of focusing aids.
A live distance scale is displayed along the lower edge of the screen (both EVF and monitor), with a white bar to show focused distance and a blue bar for the depth of field, each changing as focus and aperture settings are adjusted. If Focus Check is set to On, pressing the rear command dial in will magnify the selected focus area by 2.5x or 6x.
If you continue to press the dial in the camera will switch to Digital Split Image mode, which displays a double image in the centre of the frame. Rotating the focusing ring enables you to bring these images into alignment for accurate manual focusing. If you continue to press the dial in, the display will switch to Focus Peak Highlight mode, which outlines areas that are in focus. You can choose from white, red or blue outlining and set the level to low or high.
The introduction of 4K video recording puts the X-T2 in a class of its own; it’s the first X-series camera with this capability and features the consumer-level UHD 3840 x 2160 resolution with frame rates of 30p, 25p and 24p. UHS Speed Class 3 cards are required for recording 4K movies and recording time is limited to 10 minutes. Attaching the optional VPB-XT2 grip lets you extend continuous 4K recording to 30 minutes.
The X-T2 can also record Full HD movies at 50p or 25p and HD (1280 x 720) at up to 50p for PAL system users. Up to 15 minutes of continuous recording is available with the former, while the latter supports a maximum of 29 minutes. All movies are recorded in MOV format using MPEG-4 AVC / H.264 compression with 48KHz linear PCM stereo sound. The table below shows all the options available for both PAL and NTSC systems.
|
Camera setting |
Frame size |
Frame rate |
Max. recording time 8GB/16GB card |
|
UHD 4K 2160/29.9P |
3840 x 2160 |
29.97 fps |
9/20 minutes |
|
UHD 4K 2160/25P |
25 fps |
||
|
UHD 4K 2160/24P |
24 fps |
||
|
UHD 4K/23.98P |
23.98 fps |
||
|
Full HD 1080/59.94P |
1920 x 1080 |
59.95 fps |
9/20 minutes |
|
Full HD 1080/50P |
50 fps |
||
|
Full HD 1080/29.97P |
29.97 fps |
||
|
Full HD 1080/25P |
25 fps |
||
|
Full HD 1080/24P |
24 fps |
||
|
Full HD 1080/23.98P |
23.98 fps |
||
|
HD 720/59.94P |
1280 x 720 |
59.95 fps |
19/30 minutes |
|
HD 720/50P |
50 fps |
||
|
HD 720/29.97P |
29.97 fps |
||
|
HD 720/25P |
25 fps |
||
|
HD 720/24P |
24 fps |
||
|
HD 720/23.98P |
23.98 fps |
Videos recorded in 4K have bit rates of 100Mbps and the screen is cropped width-wise by a factor of 1.17x. The same bit rate applies to Full HD movie recordings, reducing to 50Mbps for HD. Full HD and HD movies are only cropped vertically to produce a 16:9 aspect ratio.
The movie mode is selected via the drive dial and you can shoot movies in the P, A, S and M modes. The indicator lamp lights while the recording is in progress. While recording, you can adjust exposure parameters , change exposure compensation across a +/-2EV range and use the zoom ring on the lens (if it has one).
Two focus point options are available: Multi (with automatic AF point selection) or Area (focusing on a selected area)
You can also decide where the movie files will be recorded, either to the memory card or a connected HDMI recorder (or other device that supports 4K). When a recording device is connected to the camera and recording to the SD card is selected, movies will be recorded on the card in 4K resolution and output to the HDMI device in Full HD resolution.
Selecting the HDMI (F-Log) setting outputs 4K movies to the HDMI device without recording to the card. Low gamma and a wide gamut colour space are applied to create footage that is suitable for post-processing Minimum sensitivity is set to ISO 800.
A new shutter mechanism increases the top shutter speed to 1/8000 second and the flash synch speed to 1/250 second for the mechanical shutter. The top electronic shutter speed is still 1/32,000 second. Continuous shooting is supported at up to eight frames/second (fps) in the CH mode or 11 fps with the power booster grip. Up to 14 fps is available when the electronic shutter is selected.
The capacity of the buffer memory depends on the frame rate, image format and file size. At 8 fps, the buffer memory can hold up to 83 high-resolution JPEGS, 33 losslessly compressed raw files or 27 uncompressed raw images. At 14 fps, the buffer depths are 42, 28 and 25 frames respectively.
The X-T2 includes an interval timer for shooting time-lapse sequences, with selectable intervals from one second up to 24 hours supported for as long as the battery and memory card can accommodate shots. Multiple exposures can also recorded via the drive dial, although the superimposition limit is two shots. The drive dial also includes a Panorama setting and provides access to the bracketing options.
Wi-Fi integration is similar to the X-Pro2‘s and outlined in our review of that camera. NFC is not supported.
Playback and Software
Nothing much has changed since the X-Pro2 and the X-T2 supports the same playback functions. 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-T2 in Photoshop or Lightroom so you don’t have to use the problematic Silkypix software.
Accessories
The X-T2 comes with a bundled EF-X8 flashgun, which attaches to the hot shoe and is the same as the flash supplied with the X-T1. It’s small and not very powerful, having a Guide number of 6.1 (m.ISO100) and weighs only 41 grams. It’s powerful enough to provide fill-in lighting 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.
The optional VPB-XT2 vertical power booster grip is purpose-designed for the X-T2 and can be used to supplement the camera’s battery or make it easier to shoot with the camera rotated into portrait orientation. When two fully-charge batteries have been inserted, a continuous shooting rate of 14 fps is available with the electronic shutter and the maximum frame rate with the mechanical shutter rises to 11 fps. The release time lag is reduced from 50 milliseconds to 45 milliseconds.
Key camera controls have been duplicated on the VPB-XT2 for triggering the shutter and accessing the Quick menu and function button and front and rear command dials as well as the focus lever. The AE- and AF-Lock buttons have also been duplicated.
Fitting the VPB-XT2 grip adds 273 grams to the overall weight of the camera, while installing the batteries brings the additional weight up to 369 grams, which is about 60% of the weight of the camera body with battery installed. If you really needed the extra power and performance boosts the grip can provide, this additional weight could be justified.
The grip comes with two additional batteries, an AC adapter supplied (AC-9VS) and headphone extension cable. You can charge both batteries in the grip by connecting the AC adapter to the grip and a mains power outlet. The RRP for the grip is AU$499, although we’ve seen it listed for as low as $400 as a special offer.
Performance
Subjective assessments of images captured with the review camera showed them to be similar to shots from the X-Pro2, which isn’t surprising since they both use the same (or very similar) X-Trans CMOS III sensor and X-Processor Pro processor. However, when we compared the Imatest results for JPEG files, it was clear that the X-T2 was capable of more accurate colour rendition. Saturation was also better controlled.
The differences carried over into raw files, which were comparable as we used Adobe Camera Raw for processing RAF.RAW originals from both cameras. Interestingly, the resolution recorded in our Imatest tests was higher for the X-Pro2 than the X-T2, although it’s likely this was influenced by the lens used for testing.
Nevertheless, the X-T2 with the Fujinon XF 14mm f/2.8 R prime lens produced images that were close to the resolutions expected from a 24-megapixel sensor for JPEGs and just above expectations with RAF.RAW files. Resolutions held up well across the supported sensitivity range, as shown in the graph of our Imatest results below. Note: we were unable to capture raw files with the ISO 100 setting and either raw or JPEG files at ISO 51200 on the review camera.
Long exposures were consistently clean and noise-free at ISO settings up to ISO 6400, with slight softening becoming visible in the two highest sensitivity setting. Much of that could be a result of noise-reduction processing.
Detail was well retained, however, and colour reproduction remained consistent across the camera’s sensitivity range. Shots taken at ISO 25600 were printable at 15 x 10 cm size and could even be made slightly larger.
The auto white balance setting produced close-to-neutral colours under fluorescent lighting and with the supplied flash but, as expected, failed to eliminate the orange cast from incandescent illumination. The tungsten and fluorescent pre-sets slightly over-corrected both colour casts introducing a purple bias in each case.
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 as fast as the X-Pro2’s system, if not slightly faster. There were few problems locking onto and tracking moving subjects in bright sunlight and focusing was quick and accurate for our after dark tests. It was also very easy to select particular AF points and zone clusters and move them about with the joystick control while the camera was held up to the eye.
Video performance was impressive, particularly given the difficulties associated with sub-sampling the more random filtration pattern on the X-Trans sensors. The resulting clips were colourful but slightly contrasty, with sharpness at its maximum in the 4K clips and only slightly less in Full HD 50p recordings. Clips with lower resolutions and slower frame rates were less impressive but suitable for viewing on smaller screens.
Exposure metering was very good and the camera was able to adjust reasonable quickly (though not instantly) to sudden changes in subject brightness. When subjects were in focus at the start of a recording, they generally remained sharp while the lens focal length wasn’t changed. The only cropping that took place was vertically, to convert the native 3:2 frame to 16:9 and clips were free from common glitches, such as line skipping.
To evaluate AF performance during zooming we shot our movie clips with the Fujinon XF 50-140mm f/2.8 R LM OIS WR telephoto zoom lens. Subject tracking was mostly good, although the camera often failed to focus precisely on a subject that entered the frame closer to the camera than a pre-focused subject. This inability to re-focus could persist for several seconds.
Like the X-Pro2, the X-T2 has no wind suppression filter and we found the camera’s built-in microphones showed similar sensitivity to wind noise to the X-Pro2’s. There’s a similar page in the camera’s menu that allows recording levels to be adjusted. We were unable to test audio performance with an external microphone.
Our timing tests were carried out with two Panasonic SDHC I Class 10 memory cards, one Speed Class 1 and the other Speed Class 3. JPEGs were recorded on the Speed Class 1 card with RAF.RAW files going to the Speed Class 3 card. The review camera powered-up almost instantly but took roughly half a second to shut down, the delay being caused by automatic sensor cleaning.
We measured an average capture lag of 0.2 second with both the mechanical and electronic shutters. Pre-focusing reduced this to 0.1 seconds with mechanical shutter and eliminated it with the electronic shutter. Shot-to shot times averaged 0.6 seconds with both shutters.
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. In the high-speed continuous shooting mode, the review camera recorded 70 full-resolution JPEG images in eight seconds before slowing. This is slightly faster than the specified 11 frames/second. It took 27.9 seconds to process this burst.
When raw file capture was selected, 23 uncompressed frames were recorded in 2.8 seconds before recording paused. With lossless compressed raw files, the buffer memory filled at around the 24th frame. It took more than 30 seconds to process these bursts. The camera body warmed noticeably while in the continuous shooting mode, although this seemed to have no impact on frame rates.
Conclusion
With the X-T2, Fujifilm gives photographers looking for a mirrorless camera another flagship model to choose from. The addition of 4K movie recording provides an incentive to choose it over the X-Pro2.
The high resolution and small but significant improvements to the body design should satisfy most potential purchasers, although some could find fault with the stacked dial controls, particularly if their fingers are large. We found them fairly easy to operate and they provided a quick way to check some key settings and make needed adjustments.
The X-Trans III sensor has confirmed its capabilities in our tests and the improvements to the autofocusing system will be noticeable to users of the original X-T1. As with all Fujifilm’s X-series cameras, the solid construction and traditional control layout are the main reasons people buy these cameras, even though they come at a price.
Potential purchasers who plan to shoot 4K movies with this camera might want to invest in the VPB-XT2 grip if they want to record clips longer than 10 minutes. Be warned, however, that adding the grip and two extra batteries will make your rig heavier than many pro-sumer DSLRs.
One area of concern for photographers on a budget is the suggested retail price of the camera which, at AU$2499 (RRP) is roughly AU$360 higher than the US price at the conversion rate that applied when this review was published. This is more than you’d pay for shipping and insurance if you bought the camera off-shore.
Because we always advise readers to shop locally so they gain the benefits of local consumer protection laws, we have surveyed the current online market. If you shop around you should find some reputable resellers offering the camera at discounted prices; typically between AU$2200 and $2300 ““ with free shipping, which is close to what you would pay for an imported camera. Camera plus lens bundles are often very price competitive in local stores.
There are other reasons to buy locally, as outlined in this article: Ten reasons to buy camera gear locally.
SPECS
Image sensor: 23.6 x 15.6 mm X-Trans CMOS III sensor with million photosites (24.3 megapixels effective)
Image processor: X-Processor Pro
A/D processing: 14-bit
Lens mount: Fujifilm X mount
Focal length crop factor: 1.5x
Image formats: Stills: JPEG (Exif Ver. 2.3), RAF.RAW, RAW+JPEG; Movies: MPEG-4 AVC / H.264 with Linear PCM stereo sound 48KHz sampling
Image Sizes: Stills ““ 3:2 aspect: 6000 x 4000, 4240 x 2832, 3008 x 2000; 16:9 aspect: 6000 x 3376, 4240 x 2384, 3008 x 1688; 1:1 aspect: 4000 x 4000, 2832 x 2832, 2000 x 2000; Movies: 4K (3840 x 2160) at 29.97p / 25p / 24p / 23.98p, 100Mbps up to approx. 10min.; Full HD (1920 x 1080) at 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 100Mbps up to approx. 15 min.; HD (1280 x 720) at 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 50Mbps up to approx. 30min.
Image Stabilisation: Lens based
Dust removal: Ultra Sonic Vibration sensor cleaning system
Shutter (speed range): Focal plane type mechanical shutter – 30 sec. to 1/8000 sec. plus Bulb (up to 60 min); Time: 30 sec to 1/8000 sec.; electronic shutter – 30 sec. to 1/32000 sec. plus Bulb to 1 sec; Time: 30 sec to 1/32000sec; flash synch at 1/125 sec.
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 bracketing (any 3 types of film simulation selectable), Dynamic Range Bracketing, ISO sensitivity Bracketing, White Balance Bracketing
Self-timer: 2 or 10 seconds delay
Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF), 325 points (169 with phase detection)
Focus modes: Single, continuous, manual; Single point, Zone and Wide/Tracking AF: (up to 18 area) available
Exposure metering: TTL 256-zone metering with Multiple, Centre-weighted, Average and Spot metering patterns
Shooting modes: P (Program AE), A (Aperture Priority AE), S (Shutter Speed Priority AE), M (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+G Filter, Sepia, ACROS,ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter)
Advanced filter modes: Toy camera, Miniature, Pop color, High-key, Low-key, Dynamic tone, Soft focus,Partial color (Red / Orange / Yellow / Green / Blue / Purple)
Colour space options: sRGB and Adobe RGB
ISO range: Auto (x3), ISO 200 to 12800 in 1/3EV steps; extended sensitivity: ISO 100, ISO 25600, ISO 51200
White balance: Automatic Scene recognition, Fine, Shade, Incandescent, Fluorescent (x3), Underwater, Custom 1-3, Colour temperature setting (2500K~10000K); Blue/Amber, Magenta/Green bias adjustments
Flash: Hot shoe for Dedicated TTL flash compatible flashguns; EF-X8 flash supplied with camera
Flash modes: 1st / 2nd Curtain, Auto FP (HSS), TTL (Flash Auto / Standard / Slow Sync.) / Manual / Commander / Off (When EF-X8 is set)
Flash exposure adjustment: +/- 3EV in 1/3EV steps
Sequence shooting: Max. 14 shots/sec.
Buffer capacity: Max. 42 Large/Fine JPEGs, 28 compressed RAW files, 25 uncompressed RAW files
Storage Media: SD, SDHC, SDXC cards (UHS-I/UHS-11 compatible)
Viewfinder: 0.5 inch OLED Colour EVF with approx. 2.36 millions dots, 100% FOV coverage, approx. 23mm eyepoint, 0.77x magnification, Dioptre adjustment: -4~+2m-1, Built-in eye sensor
LCD monitor: Tilting 3.0 inch, 3:2 aspect ratio TFT LCD with approx. 1,040,000 dots
Playback functions:
Interface terminals: USB3.0 (High-Speed) / micro USB terminal; HDMI micro connector (Type D), 3.5 mm stereo mini connector (Microphone), 2.5 mm Remote Release Connector
Wi-Fi function: IEEE 802.11b/g/n Wi-Fi, WEP / WPA / WPA2 mixed mode; support for Geotagging, Wireless communication (Image transfer), View & Obtain Images, Remote camera shooting, PC Autosave, instax printer print
Power supply: NP-W126S Rechargeable Li-ion Battery Pack; CIPA rated for approx. 340 shots/charge
Dimensions (wxhxd): Approx. 132.5 x 91.8 x 49.2 mm (excluding protrusions)
Weight: Approx. 457 grams (body only); 507 grams with battery and card
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au
TESTS
Based on JPEG files.
Based on 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.
Auto white balance with flash lighting.
60-second exposure at ISO 100, f/4, 14mm focal length.
25-second exposure at ISO 200, f/4, 14mm focal length.
10-second exposure at ISO 1600, f/5.6, 14mm focal length.
10-second exposure at ISO 6400, f/9, 14mm focal length.
8-second exposure at ISO 12800, f/13, 14mm focal length.
5-second exposure at ISO 25600, f/13, 14mm focal length.
Flash exposure; ISO 100, 1/30 second at f/2.8, 14mm focal length
Flash exposure; ISO 200, 1/30 second at f/2.8, 14mm focal length
Flash exposure; ISO 1600, 1/80 second at f/2.8, 14mm focal length
Flash exposure; ISO 6400, 1/170 second at f/2.8, 14mm focal length
Flash exposure; ISO 12800, 1/180 second at f/3.6, 14mm focal length
Flash exposure; ISO 25600, 1/210 second at f/5.6, 14mm focal length
Close-up; ISO 400,1/40 second at f/3.6, 14mm focal length.
ISO 200, 1/58 second at f/14, 14mm focal length.
ISO 200, 1/500 second at f/5.6; 140mm focal length.
ISO 200,1/28 second at f/2.8, 14mm focal length.
ISO 6400,1/250 second at f/8, 14mm focal length.
Still frame from 4K (3840 x 2160 pixels) video clip recorded at 25 fps.
Still frame from 4K (3840 x 2160 pixels) video clip recorded at 24 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 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 25 fps.
Still frame from HD (1280 x 720 pixels) video clip recorded at 24 fps.
Additional image samples can be found with our reviews of the Fujinon XF 14mm f/2.8 R and the Fujinon XF 50-140mm f/2.8 R LM OIS WR lenses.
Rating
RRP: AU$2499; US$1,600 (body only)
- Build: 9.0
- Ease of use: 8.9
- Autofocusing: 8.8
- Still image quality JPEG: 8.7
- Still image quality RAW: 8.9
- Video quality: 8.9
