Fujifilm X-T3

      Photo Review 9.0


      In summary

      Fujifilm’s new X-Series flagship reaffirms the company’s commitment to the APS-C sensor format. With its wealth of professional-standard features and comfortable handling, it makes a powerful argument in favour cropped-sensor cameras.

      Owners of previous X-Series cameras who appreciate the company’s traditional camera styling, will be tempted to consider upgrading, particularly if they want the sophisticated video functions the new camera provides. It also represents the first serious rival to Panasonic’s GH5 models for keen videographers, where its larger sensor provides some advantage over the smaller M4/3 format.

      Robust, weather-proof construction, improvements to resolution and image processing and faster, more customisable and more accurate AF system also makes the X-T3 a serious rival to pro-sumer DSLR cameras.


      Full review

      Fujifilm’s X-T3 interchangeable-lens mirrorless camera, which was announced on 6 September, arrives just over two years after its predecessor, the X-T2, which was the first X-Series camera to support 4K video recording. Physically similar to its predecessor, the new camera comes with significant internal improvements, not the least of them being a new 26.1-megapixel BSI sensor (the first to use the X-Trans filter system) with no low-pass filter and  2.16 million phase-detection points embedded across the chip’s surface.

      The silver version of the X-T3, shown with the XF 18-55mm f/2.8-4 R OIS kit lens. (Source: Fujifilm.)

      The new camera comes to the market at the same RRP as its predecessor did back in 2016, which is remarkable. It has a similar splash-resistant body made mainly from magnesium alloy and, like its predecessor, will be available in all-black and silver/black colours. It will be sold as a body alone or in kit format with a choice between the XF 18-55mm f/2.8-4 R OIS  lens which we reviewed in November 2012,  and XF 18-135mm f/3.5-5.6 R LM OIS lens.

      magnesium alloy chassis of the X-T3. ((Source: Fujifilm.)

      We reviewed the camera with the XF 18mm f/2 R lens, which we haven’t reviewed before and is reviewed separately. We were also supplied with the XF 55-200mm f/3.5-4.8 R LM OIS lens.

      NOTE: Since the X-T3 was released, Fujifilm has issued a firmware update (Ver. 1.01) that fixes issues associated with optimising distortion compensation when the electronic shutter is used in continuous high-speed mode and a bug that caused the camera to ignore the mechanical lock on SD cards, as well as other ‘slight defects’. It is available to download here.

      What’s New?
      The X-T3 boasts the most sophisticated AF system Fujifilm has produced so far. An array of 2,160,000 phase detection pixels covers the entire image frame, enabling accurate focus selection right out to its edges.

      These individual sensors have been grouped into 425 selectable points, an improvement over the 325-point system in the X-T2, albeit not a huge one. The default AF setting in single-point AF mode is for  117 AF points in a 13 x 9 array, which will be adequate in many situations. The other option, 425 points uses a 17 x 25 point array.

      The default AF point array is adequate for focusing upon fast-moving subjects. (Source: Fujfilm.)

      The X-T3 provides four AF area modes: Single-point, Zone, Wide/Tracking and a new All setting, which enables the user to cycle through the single-point, zone and wide/tracking modes quickly by turning the rear command dial. It’s handy when shooting in varying conditions, such as street photography and some types of sports/action shooting.

      Low-light AF sensitivity has been extended from -1EV to -3EV, which is equivalent to candlelight. Eye detection is now usable with the continuous AF mode, which means it’s available when shooting video clips.

      The new X-Processor 4 high-speed image processing engine and improved phase detection algorithm enables the camera to refocus and measure exposure levels roughly 1.5 times more frequently than current models, making it ideal for sports photography. Face- and eye-detection are twice as fast as in previous models and eye-detection AF will also work in AF-C mode, providing accurate focus-tracking with moving subjects, including in the continuous shooting and movie recording modes.

      Maximum burst speeds depend on the shooting mode and shutter type, with the electronic shutter supporting a rate of 20 fps for full-resolution files and up to 30 fps with a 1.25x focal length crop. With the mechanical shutter, speeds up to 11 fps are supported.

      A new pre-shoot function starts recording images at full resolution as soon as the shutter button is half-pressed. Recording will continue while this position is held and if the  buffer is full, the oldest frames will be discarded to make way for new ones. Pressing the shutter button all the way down saves the recorded frames in the buffer memory to the memory card, giving users a way to cover events with unpredictable beginnings like blowing out candles on a cake.

      The images above show the standard PROVIA Film Simulation mode on the left with the ETERNA mode on the right. Note the subdued colour and greater shadow detail in the ETERNA MODE. (Source: Fujifilm.)

      The video-specialised “ETERNA” Film Simulation mode, made popular with the X-H1, is included in the new camera. Characterised by subdued colour and rich shadow tones, it encompasses a wide dynamic range. Fujifilm has announced plans to add support for video recording in the Hybrid Log Gamma (HLG) format via a firmware update to be released at the end of 2018. The new firmware will also allow the X-T3 to simultaneously output Film Simulation and F-Log footage, further expanding its video functions.

      Use of electronic shutters has traditionally been associated with rolling shutter effects in movie clips. But Fujifilm claims it has worked to minimise this problem, reducing it to a level similar to that of dedicated cinema cameras that use CMOS sensors.

      The electronic viewfinder has been moved further back than the EVF in the X-T2 to provide a bit more clearance for the user’s nose. It also gets a resolution boost to 3,690,000 dots and has a barely discernible display lag of only 0.005 seconds and refresh rate of 100 fps.

      Magnification has been reduced from 0.77x  to 0.75x,  a relatively minor change. The dioptre adjustment knob on the side of the EVF housing covers a range from -4 to +2 dioptres when pulled out and pushes in to lock in the selected setting.

      A new ‘Sports finder mode’ function claims blackout-free high-speed continuous shooting at the maximum speed of 30 frames/second (fps) with a 1.25x frame crop equivalent to 16.6 million pixels. It is only available with the electronic shutter but the viewfinder refreshes continuously with no blackout.

      The three-way tilting monitor supports touch focus and touch shooting functions. (Source: Fujifilm.)

      The monitor screen offers the same three-way tilt as the X-T2 and has the same overall size and 3:2 aspect ratio. However, it  benefits from increased resolution, with 1,040,000 dots, and has a touch-panel overlay that should be appreciated.

      Users can now customise the information displays in both screens, with the ability to select which icons appear and how large they are. Users can also change the colour and contrast of displayed icons, menus and backgrounds to suit different situations.

      The dual SD card slots in the X-T3. (Source: Fujifilm.)

      Dual slots support SDHC and SDXC cards with UHS-1 and UHS-11 compatibility for top performance. They are also compliant with Video Speed Class V90 cards.

      There has been a slight increase in battery life, even though the X-T3 uses the same NP-W126S lithium ion battery pack as its predecessor. When the monitor is used for framing shots, capacity increases from 340 to 390 frames/charge.

      The X-T3, black version, fitted with the VG-XT3 vertical power booster grip. (Source: Fujifilm.)

      Fitting the VG-XT3 vertical power booster grip accessory allows two more batteries to be added, bringing the total capacity to approximately 1,100 frames. The VG-XT3 also provides a duplicate set of controls (shutter release, focus lever, AE-L button, AF-L button, front and rear command dials, Q button and Fn button) for portrait shooting. Like the camera, it is dust, moisture and freeze resistant.

      Who’s it For?
      The improvements incorporated in the X-T3  make it even more attractive to sports and wildlife photographers than either the X-T2 or the previous flagship X-H1 model.   It will also be attractive to professional videographers as well as lifestyle bloggers.

      Sensor and Image Processing
      The X-T3’s  new backside-illuminated (BSI) CMOS sensor is  a fourth-generation model and the first of its type to use the X-Trans filter system. Offering an effective resolution of 26.1 megapixels and with no low-pass filter, it is partnered with a new X-Processor Pro image processor, which is also a fourth generation unit.

      The highly randomised X-Trans filter array eliminates the need for an optical low-pass filter and is relatively immune to moiré. As noted above, the new quad-core processor with parallel processing of focus and metering data has enabled the X-T3 to achieve significant improvements in autofocusing speeds and video recording capabilities as well as reducing noise levels.

      The native ISO range is expands to range from ISO 160 to ISO 12,800,with extensions to ISO 80, 100 and 125 at the low end and ISO 25600 and ISO 51200  above. The upper ISO limits are the same as other recent Fujifilm X-Series cameras.

      Continuous shooting speeds depend on the shutter used, frame cropping and raw file compression (uncompressed or losslessly compressed). The top frame rate of 30 fps is only available with the electronic shutter and a 1.25x crop. The maximum full-frame speed is 20 fps.

      With the mechanical shutter, the maximum frame rate is 11 fps. The medium speed setting has a frame rate of eight fps, while the low setting records at 5.7 fps.

      According to Fujifilm, users can expect a buffer capacity of approximately 60 JPEGs, 35 losslessly-compressed RAF.RAW frames or 33 uncompressed raw images for the 30 fps frame rate. When using the mechanical shutter, buffer capacities can be extended to 145 JPEG frames, 42 losslessly-compressed RAF.RAW frames or 36 uncompressed raw images at 11 fps.

      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 6240 x 4160 62.5MB (uncompressed)
      35.7MB (lossless compression)
      RAW+JPEG 6240 x 4160 76.9MB (uncompressed)
      55.5MB (lossless compression)
      L 6240 x 4160 16.1MB 10.8MB
      M 4416 x 2944  8.1MB 5.4MB
      S 3120 x 2080  4.1MB 2.7MB
      16:9 L 6240 x 3512 13.7MB 9.1MB
      M 4416 x 2488 6.8MB 4.6MB
      S 3120 x 1760 3.4MB 2.3MB
      1:1 L 4160 x 4160 10.8MB 2.7MB
      M 2944 x 2944 5.4MB 2.3MB
      S 2080 x 2080 2.7MB 1.9MB

      Note: Raw files can be recorded simultaneously with JPEGs at both the Normal and Fine compression settings.

      The new processor also provides the processing speed required to support professional-standard 4K video recording and users can choose between the professional DCI (4096 x 2160 pixel) resolution at frame rates up to 30 fps or the consumer-level 3840 x 2160 pixels with frame rates up to 60 fps (NTSC) or 50 fps (PAL) and with bitrates of 200 Mbps or 100 Mbps.

      Supported video formats include the popular H.264/MPEG-4 AVC codec as well as the new H.265/HEVC format, which supports higher data compression with no visible loss of image quality. Recording times can extend to approximately 20 minutes per clip, with up to 30 minutes available when frame rates below 30fps are selected.

      Two aspect ratios are available for both 4K and Full HD recording: the native 17:9 ratio associated with Cinema 4K and the consumer-level regular 4K, which has the same aspect ratio as the native FHD format. It is interesting to see 17:9 recording available at 2048 x 1080 pixels and is the first time we’ve encountered it in a review camera.

      Other options cover frame rates and bit-rates, among them the option to record 4K video at 60p (NTSC)  or 50p (PAL) at 200Mbps bitrate with 10-bit depth internally to an SD card with 4:2:0 colour subsampling  and externally with 4:2:2 subsampling when using H.264 compression or 4:2:2 subsampling to both outputs with H.265.  This enables users to take backup video or record 4K/60p/50p internal recording to an SD card while monitoring the 4K footage.

      Video compression choices include ALL-Intra (ALL-I) and Long GOP, the former supporting bit-rates up to 400Mbps and 30/25p. All-I recording is possible with the following settings: DCI 4K/4K at 25p or 24p, 400Mbps; Full HD (2048 x 1080)/Full HD(1920 x 1080) at 50p, 25p or 24p, 200Mbps. Video recording modes for PAL region users are shown in the table below.

      Mode setting Frame size/rate Bit rates Compression
      DCI 4K 4096 x 2160 / 50p 400Mbps/200Mbps/100Mbps Long GOP
      4096 x 2160 / 25p, 24p 400Mbps/200Mbps/100Mbps Long GOP
      400Mbps ALL-I
      4K 3840 x 2160 / 50p 400Mbps/200Mbps/100Mbps Long GOP
      3840 x 2160 / 25p, 24p 400Mbps/200Mbps/100Mbps Long GOP
      Full HD 2048 x 1080 /50p 200Mbps/100Mbps/ 50Mbps Long GOP
      2048 x 1080 / 25p, 24p 200Mbps/100Mbps/50Mbps Long GOP
      2048 x 1080 /50p 200Mbps ALL-I
      2048 x 1080 / 25p, 24p 200Mbps ALL-I
      Full HD 1920 x 1080 /50p 200Mbps ALL-I
      1920 x 1080 /25p, 24p 200Mbps ALL-I
      1920 x 1080 / 50p 200Mbps/100Mbps/50Mbps Long GOP
      1920 x 1080 / 25p, 24p 200Mbps/100Mbps/50Mbps Long GOP
      High-speed recording 1920 x 1080 / 100p 200Mbps Long GOP

      Maximum recording times vary with resolution and frame rate settings. Recordings up to 30 minutes long can be made in both the Full HD (2048 x 1080 and 1920 x 1080) settings but only for 20 minutes at the 25p and 24p frame rates for the DCI  4K and 4K resolution. In the high-speed mode, the maximum recording time is six minutes.

      New noise reduction processing and a new 4K inter-frame NR function provide improved de-noising performance, reducing high-ISO noise by the equivalent of roughly two stops.

      Improvements made to noise-identifying accuracy are complemented by the 4K inter-frame NR function, which uses differential data between adjacent frames to cut noise even further. This has allowed the minimum sensitivity for shooting F-Log with the setting of DR400% to be extended from ISO 800 to ISO 640. Native ISO settings range from 160 to 12800, with extensions down as far as ISO 80 and as high as ISO 51200.

      SD cards supporting UHS Speed Class 3 or higher are required for general video recording with Video Speed Class 60 or higher needed for clips at 400 Mbps. A maximum size of 4GB is imposed on all video recordings.

      Playback and Software
      As is usual, no software was supplied with the review camera but the product’s support page on Fujifilm’s website provides downloads for the proprietary applications, which are listed as follows:
      – Fujifilm Camera Remote, for wirelessly connecting the camera to a smart device,
      – Fujifilm PC AutoSave, for downloading and saving pictures from the camera over a wireless network,
      – MyFinePix Studio, a basic editing tool for managing, viewing and printing images from the camera,
      – RAW FILE CONVERTER EX 3.0 powered by SILKYPIX, for viewing raw files from the camera on a computer and converting them into editable formats (JPEG or TIFF),
      – Fujifilm X RAW STUDIO, which uses the camera’s image processor to convert raw files into JPEG format when the camera is connected to a computer,
      – Fujifilm X Acquire, lets users connect to the camera via USB or Wi-Fi and automatically download photos to a specified folder as they are taken
      – Fujifilm Tether Shooting Plug-ins for Lightroom to support tethered shooting,
      – Hyper-Utility Software HS-V5, for remotely controlling the camera via USB or Wi-Fi.

      Unfortunately, the latest version of Adobe Camera Raw, our preferred raw file converter, hadn’t been updated to support RAF.RAW files from the X-T3 when this review was carried out. However, at Photokina, Fujifilm announced a  collaboration with Phase One to bundle a ‘light’ version of the popular Capture One raw conversion software with Fujifilm’s interchangeable-lens cameras, effective immediately. We used this software to convert raw files for the relevant assessments.

      The X-T3 comes with the same bundled EF-X8 flashgun as supplied with the X-T2. It’s small and not very powerful, having a Guide number of 6.1 (m.ISO100) and weighs only 41 grams. It’s adequate for close subjects and can be used to trigger remote synced flash units in a studio set-up. Front- and rear-curtain sync are supported. The camera will also accept more powerful flashguns from Fujifilm and third-party manufacturers.

      As mentioned, the VG-XT3 vertical battery grip can be attached to the base plate of the camera once the rubber contact cover has been removed. The grip can accept two batteries, dramatically extending shooting capacity. It can be charged via the AC-9VS power adapter, which plugs into the 9V DC-IN connector on the grip.

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

      The X-T3 is also compatible with Fujifilm’s X-Series interchangeable lenses, including the recently-released professional cinema lenses. The MIC-ST1 stereo microphone and RR-100 remote releases can also be used with this camera.

      We tested the review camera with the Fujinon XF 18mm f/2 R WR lens (INSERT LINK), which is reviewed separately.  To overcome the restricted field of view of the 18mm prime lens, we also took a number of test shots and made most of our video recordings with the XF 55-200mm f/3.5-4.8 R LM OIS lens.  We’ve included the MTF results of Imatest tests with this lens since it delivered higher resolution than the 18mm prime lens.

      The most impressive aspect of the new camera was the speed with which it could focus – and also the focusing accuracy, regardless of whether the 18mm prime lens or the 55-200mm zoom  lens was used. Particularly impressive was AF performance with the slower zoom lens, the overwhelming majority of images and movie clips were correctly focused as well as correctly exposed (since the camera links AF and AE measurements by default).

      Subjectively, we found the camera’s colour reproduction to be natural looking with the default Provia/Standard setting. Fujifilm’s Film Simulation settings are now well accepted and useful for those who shoot mainly JPEGs and video clips. It’s worth noting that, although they can be applied to editable files – and some can be applied to the JPEGs as they are created through in-camera raw file processing – it’s difficult to evaluate the full effect they have when viewing images on the camera’s screens.

      On the whole, most of colour-retaining Film Simulation modes provide relatively subtle adjustments, which is desirable in most cases. When used for recording movies, the Classic Chrome setting gives a slight contrast boost while the Eterna/Cinema setting delivers subdued colours and tonality that are ideal for editing.
      JPEG stills straight from the camera were sharp and detailed and colours were accurate with natural-looking saturation and generally similar in quality to other cameras with Fujifilm’s X-Trans sensors. Imatest showed saturation levels in JPEG files to be marginally lower than normal, which is an advantage, rather than a flaw.

      The Capture One for Fujifilm software’s default settings delivered similar saturation levels to the JPEGs but tended to over-sharpen files. Although this yielded high resolution levels the end results were not ideal for subsequent editing. Clearly photographers using this software will need to make adjustments before outputting converted files in an editable format.

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

      High ISO performance was, if anything, even better than that of the X-T2 camera we tested.  Long exposures at settings up to ISO 12800 were clean and noise-free and there was little evidence of increasing  noise thereafter.

      Shots taken at the H setting (ISO 25600) remained free of granularity and their colours were as rich as those in shots at lower sensitivity settings. Slight softening was evident but image quality was otherwise good.

      Flash performance was very good and shots taken with the bundled flash were relatively evenly exposed, even with a 55mm focal length.  and retained their colour saturation and accuracy throughout the sensitivity range. Slight under-exposure occurred at ISO 80, but by ISO 200 exposure levels were normal and exposures remained constant until ISO 12800, where there was a slight loss of contrast. At ISO 25600, images were slightly over-exposed and marginally softened and both contrast and saturation were reduced.

      The auto white balance setting produced neutral colour rendition under fluorescent lighting  and with flash. The warm colour casts from incandescent and warm-toned LED lighting were not totally eliminated, although they were reduced enough to make subsequent corrections easy.

      The tungsten and fluorescent pre-sets tended to over-correct with their respective lighting types, although with the daylight fluorescent pre-set the adjustment was slight. There’s no pre-set for LED lighting but plenty of in-camera adjustability is available to fine-tune colour balance on the go. On location, the camera handled mixed lighting situations well and manual adjustment was rarely needed.

      We were impressed with the quality of the movie clips we obtained from the review camera, regardless of which recording mode we selected.  The issues we found with contrast and saturation when reviewing the X-H1  have been largely resolved and recorded footage was free of artefacts and surprisingly smooth for a camera that lacks built-in stabilisation.

      Soundtracks recorded through the on-board microphones were clear and dynamic, with some depth suggesting the stereo recording is effectively handled. The camera can pick up wind noise in gusty conditions even when the wind filter is engaged. We’d recommend using a well-damped external microphone when you require more professional audio recordings.

      Our timing tests were carried out with a 32GB Lexar Professional 2000x SDHC UHS-II memory card in one card slot (assigned to JPEGs) and a 64GB Lexar Professional 2000x  SDXC UHS-II  card in the other. Both cards have speed ratings of 300MB/s.

      The review camera powered up in just under half a second and shut down almost instantly. We measured an average capture lag of 0.12 second, which was eliminated with pre-focusing. Shot-to shot times averaged 0.2 seconds.

      Single-shot cycle times were difficult to measure because they are so brief, regardless of which shutter was used. However, we estimate that on average, it took approximately 1.6 seconds to process each JPEG file, 1.9 seconds for each RAF.RAW file and 2.1 seconds for each RAW+JPEG pair.

      Using the electronic shutter with the high-speed continuous shooting mode, the review camera recorded 58 full-resolution JPEG images in 2.1 seconds before slowing. This works out at a little less than the claimed 30 frames/second. It was difficult to estimate processing times since the indicator on the camera didn’t  light up while files were being processed.

      When raw file capture was selected with the electronic shutter, the buffer capacity was reduced to 30 uncompressed frames and 33 compressed raw frames.  Again, we were unable to accurately estimate the processing times for these bursts.

      With the mechanical shutter selected in the high-speed continuous shooting mode, the review camera recorded 140 full-resolution JPEG images in 13 seconds before showing signs of slowing. This works out at 10.8 frames/second, which is close to the specifications.

      Shooting uncompressed RAF.RAW frames with the mechanical shutter filled the buffer at 35 frames, which were recorded in 3.3 seconds, a frame rate of roughly 10.6 fps. Combining compressed raw frames with high-resolution JPEGs reduced the buffer capacity to 40 frames, which were recorded in 3.8 seconds, a frame rate of just over 10.5 fps.

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


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      Image sensor: 23.5 x 15.6 mm X-Trans CMOS 4 BSI sensor with 26 megapixels effective; no low-pass filter
      Image processor: X-Processor 4
      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, HEVC/H.265; Audio: Linear PCM stereo 24-bit/ 48KHz sampling;  All Intra & Long-GOP  compression
      Image Sizes
      : Stills – 3:2 aspect: 6240 x 4160, 4416 x 2944, 3120 x 2080; 16:9 aspect: 6240 x 3512,  4416 x 2488, 3120 x 2080; 1:1 aspect: 4160 x 4160, 2944 x 2944, 2080 x 2080; Movies: DCI 4K (4096 x 2160) at 50p/25p.24p ; 4K (3840 x 2160) at 50p 4:2:0 10-bit internal recording, 4K (3840 x 2160) at 50p 4:2:2 10-bit external, 200/100/50Mbps; Full HD (2048 x 2080) at 50p/25p/24p, 200/100/50Mbps; Full HD (1920 x 1080) at  50p / 25p / 24p, 200/100/50Mbps; High speed rec. (1920 x 1080) at 100p / 200Mbps up to approx. 6 min.
      Image Stabilisation: Lens based
      Dust removal: Ultra Sonic Vibration
      Shutter (speed range): Focal plane shutter –  Mechanical: 4 sec. (P mode), 30 sec. (A mode) or 15 min (S & M modes) to 1/8000 sec. plus Bulb (up to 60 min); Time: 30 sec to 1/8000 sec.; Electronic: as for mechanical shutter but extends up to 1/32000 sec. Bulb to 1 sec; Electronic front curtain synch. max at 1/2000 sec.; flash synch at 1/250 sec.; Movies 1/4 to 1/8000 sec. (FHD), 1/60-1/8000 sec (4K/50p)
      Exposure Compensation: +/-5 EV in 1/3EV or 1/2EV steps (+/-2EV for movies)
      Exposure bracketing: +/- 2, 3, 5, 7 or 9 frames in increments of 1./3EV, 2/3EV, 1EV, 4/3EV, 5/3EV, 2EV, 7/3EV, 8/3EV, 3EV
      Other bracketing options: Film simulation bracketing (any 3 types of film simulation selectable), Dynamic Range Bracketing (100%, 200%, 400%), ISO sensitivity Bracketing (+/-1/3           EV, +/-2/3EV, +/-1EV),  White Balance Bracketing (+/-1, +/-2, +/-3), Focus Bracketing (Frames: 1~999, Steps: 1~10, Interval: 0-10 sec.)
      Self-timer: 2 or 10 seconds delay
      Intervalometer: Yes, with selectable interval, number of shots and starting time settings
      Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF), 425 points (full sensor coverage for phase detection); sensitive to -3EV
      Focus modes: Single, continuous, manual; Single point (selectable frame size – 13 x 9 or 25 x 17), Zone (3×3, 5×5, 7×7 from 91 areas on 13×9 grid) and  Wide/Tracking AF: (up to 18 areas) available
      Exposure metering:  TTL 256-zone metering with Multi, Spot, Average and Centre-weighted metering patterns
      Shooting modes: P (Program AE), A (Aperture Priority AE), S (Shutter Speed Priority AE), M (Manual Exposure)
      Film Simulation modes: 16 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, CLASSIC CHROME, PRO Neg.Hi, PRO Neg.Std, Black & White, Black & White+Ye Filter, Black & White+R Filter, Black & White+G Filter, Sepia, ACROS, ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter, ETERNA/Cinema); Monochrome adjustment function -9 to +9
      Advanced filter modes: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple), Grain Effect, Colour Chrome Effect
      Special video modes: Hybrid log gamma, Simultaneous film simulation / F-Log simultaneous output
      Dynamic Range setting: Auto, 100%, 200%, 400% (ISO restricted to 320 or more for DR200%, 640 or more for DR400%)
      Colour space options: Adobe RGB, sRGB
      ISO range: Auto (x3),  ISO 160 to 12800 in 1/3EV steps; extended sensitivity: ISO  80, ISO 100, ISO 125 / 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;
      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. 30 fps with electronic shutter in 1.25x crop mode and blackout-free EVF, 20 fps with electronic shutter and full sensor readout, 11 fps with mechanical shutter
      Buffer capacity: Max. 145 Large/Fine JPEGs (full frame, 11 fps), 42 lossless compressed RAW files, 36 uncompressed  RAW files
      Storage Media: Dual slots for SD, SDHC, SDXC cards (Compatible with UHS-I and UHS-II standards)
      Viewfinder: 0.5 inch OLED Colour EVF with approx. 3,690,000 dots, 100% FOV coverage,  approx. 23mm eyepoint, 0.75x magnification, Dioptre adjustment: -4 to +2m-1 (lockable), Built-in eye sensor
      LCD monitor: 3-way tilting 3.0 inch touch screen, 3:2 aspect ratio TFT LCD with approx. 1,040,000 dots
      Interface terminals: USB C terminal (USB3.1 Gen1); HDMI micro connector (Type D), 3.5 mm stereo mini connectors for microphone and headphones, 2.5 mm Remote Release Connector, hot shoe, synchronised terminal
      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; Bluetooth 4.2
      Power supply:NP-W126S rechargeable Li-ion Battery Pack; CIPA rated for approx. 390 shots/charge
      Dimensions (wxhxd): 132.5 x 92.8 x 58.8 mm
      Weight: 489 grams body only; 539 grams with battery & card

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



      For JPEG files taken with the 18mm lens.

      MTF results taken with the 55-200mm lens.


      For RAF.RAW files taken with the 18mm lens and processed with Capture One for Fujifilm.


      MTF results for raw files taken with the 55-200mm lens.



      Auto white balance with incandescent lighting. 

      Auto white balance with fluorescent lighting.

      Auto white balance with warm-toned LED lighting.

      Auto white balance with flash.

      30-second exposure at ISO 80, 55mm focal length, f/3.5.

      30-second exposure at ISO 160, 55mm focal length, f/4.

      15-second exposure at ISO 400, 55mm focal length, f/4.

      10-second exposure at ISO 1600, 55mm focal length, f/5.6.

      5-second exposure at ISO 6400, 55mm focal length, f/8.

      5-second exposure at ISO 12800, 55mm focal length,  f/11.

      2.5-second exposure at ISO 25600, 55mm focal length, f/11.

      Flash exposure, 55mm focal length, ISO 80, 1/60 second at f/4.5.

      Flash exposure, 55mm focal length, ISO 400,  1/60 second at f/4.5.

      Flash exposure, 55mm focal length, ISO 1600, 1/60 second at f/4.5.

      Flash exposure, 55mm focal length, ISO 6400, 1/60 second at f/4.5.

      Flash exposure, 55mm focal length, ISO 12800, 1/60 second at f/4.5.

      Flash exposure, 55mm focal length, ISO 25600, 1/75 second at f/4.5.

      18mm focal length, ISO 160, 1/500 second at f/8.

      18mm focal length, ISO 160, 1/70 second at f/8.

      200mm focal length, ISO 800,1/160 second at f/8.

      55mm focal length, ISO 160, 1/170 second at f/10.

      200mm focal length, ISO 200, 1/400 second at f/11.

      Strong backlighting, 110mm focal length, ISO 160,1/340 second at f/5.6.

      18mm focal length, ISO 4000, 1/100 second at f/5.6.

      18mm focal length, ISO 800, 1/6 second at f/9.

      18mm focal length, ISO 6400, 1/60 second at f/9.

      18mm focal length, ISO 10000, 1/80 second at f/9.

      18mm focal length, ISO 25600, 1/180 second at f/9.

      18mm focal length, ISO 160, 1/60 second at f/8.

      55mm focal length, ISO 400, 1/250 second at f/5.6.

      55mm focal length, ISO 400, 1/480 second at f/4.

      Stabilisation test; 55mm focal length, ISO 160, 1/8 second at f/5.6.

      Stabilisation test; 70mm focal length, ISO 1600, 1/4 second at f/8.

      200mm focal length, ISO 12800, 1/1000 second at f/5.6.

      Still frame from C4K 17:9 video clip (4096 x 2160 pixels) recorded at 25p, 400Mbps, Long GOP  compression.

      Still frame from 4K 16:9  video clip (3840 x 2160 pixels) recorded at 50p, 400Mbps, Long GOP  compression.

      Still frame from 4K 16:9  video clip (3840 x 2160 pixels) recorded at 25p, 200Mbps, Long GOP  compression.

      Still frame from Full HD 17:9 video clip (2048 x 1080 pixels) recorded at 50p, 2400Mbps, Long GOP  compression.

      Still frame from Full HD 16:9 video clip (1920 x 1080 pixels) recorded at 50p/200Mbps, Long GOP compression.

      Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 25p/200Mbps, ALL-I compression.

      Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 50p/200Mbps, ALL-I compression.

      Additional image samples can be found with our review of the XF 18mm f/2 R lens.



      RRP: AU$2499 ; US$1499 (body only)

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