The XF10 has a stylish, minimalist design. It takes better pictures than your smartphone and is almost as pocketable.
Shortcomings include no viewfinder and slower than expected shutter response, but the XF10 can deliver detailed images with good colour, low noise levels, and it offers a competitive range of filters and in-camera effects.
The Snapshot mode is an excellent convenience feature that novice photographers should appreciate, and the Wi-Fi and Bluetooth connectivity will appeal to socially active snapshooters.
Announced in mid-July, Fujifilm’s XF10 is one of a number of compact cameras with larger-than-usual sensors targeted at photographers who want a pocketable, take-everywhere camera. Smaller and less sophisticated than the X-100F, it offers the same resolution at roughly half the price. The 24.2-megapixel sensor is normal CMOS; not the X-Trans CMOS chip in the X-100F and the Fujinon 18.5mm f/2.8 lens covers a wider angle of view. A couple of new features are provided to attract bloggers, particularly Instagrammers.
Angled view of the XF10, Champagne Gold version. (Source: Fujifilm.)
The lens design consists of seven elements in five groups and includes two glass-moulded aspherical elements. Aperture settings range from f/2.8 to f/16, controlled with a nine-bladed diaphragm.
A clip-on lens cap is provided with the camera, along with a tag for attaching it to the supplied wrist strap. The XF10 will be offered in a discrete all-black version or in Champagne Gold with a brown faux leather grip cladding.
Who’s it For?
The large sensor will make the XF10 attractive to anyone who wants better image quality than a smartphone in a pocketable camera and the price of the XF10, while relatively high at AU$799, is quite competitive. But making the camera pocketable has meant dispensing with some ‘nice-to-have’ features that could cause many potential purchasers to think twice.
If you can accommodate these deficiencies, the XF10 should offer better image quality than competing cameras with 1-inch type (12.8 x 9.6 mm) sensors, including the significantly more expensive Sony Cybershot RX100 VI and Panasonic Lumix DC-TZ220 as well as the Canon PowerShot G7X Mark II.
For those who are prepared to pay a bit more, the Panasonic Lumix LX100 II comes with a M4/3 sensor in a slightly larger and heavier body but includes a zoom lens, 4K/25p video recording and a bundled GN 7 flash. It also offers Panasonic’s handy 4K Photo modes.
In creating the XF10, Fujifilm has removed anything that might be considered ‘unnecessary’ in order to minimise the size and weight of the camera. The following list presents them, in roughly the order we consider to be important, with the most critical omissions first:
* There’s no viewfinder – and no way to attach one. (This will always be a deal breaker in our opinion.)
* The lens doesn’t zoom and, although the 18.5mm focal length (which equates to a 28mm lens in 35mm format) is useful for genres like landscapes, group and environmental portraits and some kinds of street photography, it’s a bit limited for general use. The digital zoom options provided are no substitute for a ‘proper’ optical zoom.
* 4K video recording is restricted to 15 fps, which is pretty slow and results in jerky footage. The camera also suffers from rolling shutter when panning and is vulnerable to wind noise.
* The fixed monitor screen limits opportunities for above-the-head and below-the-knees shooting.
* The only stabilisation is digital, which crops the frame a little.
* There’s no built-in ND filter, which restricts aperture control for selective focusing in very bright conditions.
* There’s no hot-shoe so you can’t attach an external flash (or an EVF).
* RAF.RAW file capture is restricted to the ISO 200-12800 range.
* There’s no battery status indicator on the monitor screen.
* The ACROS Film Simulation modes provided in Fujifilm’s more sophisticated cameras are not included in the XF10’s menu.
Fortunately, the XF10 has some features that argue in its favour, among them functions ported across from more up-market cameras, including the following:
* The ‘Snapshot’ autofocus function, which sets the point of focus to two metres at f/8 or five metres at f/5.6, depending on the user’s choice for the subject. This comes in handy for quick ‘grab’ shots and can be useful for street photography.
* The new 1:1 Square Mode will be handy for keen Instagrammers, who will also warm to the XF10’s Bluetooth and Wi-Fi connectivity.
* The XF10 provides the standard range of 11 Film Simulation modes (although they are only applied to JPEGs).
* Multiple exposures are supported via a setting in the Scene Position menu. Only two exposures can be combined.
* The 4K Burst mode in the XF10’s drive menu lets users shoot at 15 fps and then extract 8-megapixel stills in-camera. This mode also supports multi-focus compositing. The frame will be cropped slightly in the latter mode.
* The lens ring can be customised to provide quick access to a parameter like ISO sensitivity, white balance, Film Simulation mode or the Digital Teleconverter setting.
* Touch-screen controls allow users to access frequently-used functions via the screen. By default, swiping down accesses the lens ring customisation settings that let you can determine how the ring is used. You can also switch between square and standard shooting by swiping left on the screen.
* Focus peaking and focus checking magnification are supported.
Build and Ergonomics
Fujifilm doesn’t specify what the XF10 is made from but it feels like it’s mostly made from metal. The body of the Champagne Gold unit we received also had a distinctly metallic finish. The camera body looks and feels solid, although it’s not environmentally sealed.
Front view of the XF10, Black version. (Source: Fujifilm.)
External controls are fairly limited but the control layout is logical and buttons are easily accessed. Most are also large enough to be used by the majority of people, although we had some issues with navigating menu screens using the joystick on the rear panel, where the ‘throw’ of the toggle wasn’t quite precise enough at times. This could make it difficult to ‘hit’ on a setting the first time.
The grip moulding on the front panel is relatively shallow but the faux leather cladding prevents your fingers from slipping and the generous thumb rest on the rear panel makes the camera comfortable to hold. The supplied wrist strap provides additional security.
Aside from the lens, which is surrounded by a programmable control ring, the only features on the front panel of the XF10 are the built-in flash and the AF-assist/self-timer light. The latter is an LED which is to the right of the lens at the intersection of the front and top panels.
Top view of the XF10, Champagne Gold version. (Source: Fujifilm.)
There are four main controls on the top panel, the most prominent being the mode dial, which has settings for 12 shooting modes. These include the regular P, A, S and M modes as well as a panorama mode, pre-sets for portrait, landscape, sport and night modes, a Scene Position setting for accessing additional pre-sets, an Advanced Filter setting and an SR+ auto mode that optimises settings according to the type of scene detected.
Also on the top panel are the shutter button, which is surrounded by the front command dial. A prominent rear command dial lies to its right. The power on/off button is located rearwards of these dials. Two microphone holes are positioned just above the lens on the top panel, while a single programmable Fn button sits near the back of the panel.
Rear view of the XF10, Champagne Gold version. (Source: Fujifilm.)
The monitor screen covers most of the rear panel with the drive and playback buttons above it and a tiny green LED embedded in the top of the panel just below the mode dial. The LED shines green while the camera is being charged and also when focus is locked.
It blinks green for focus and slow shutter warnings, green and orange while recording or uploading images and orange while the flash is recharging. Blinking red indicates a lens or memory error.
Movie recording is accessed via the drive button and, when selected, recordings are triggered by pressing the shutter button, which also accesses the 4K Burst and various bracketing options. To end the clip, press the shutter button a second time. Touch zoom is not available during movie recording and the frame will be cropped if you opt to use the digital image stabiliser function.
The remaining controls lie to the right of the monitor, with the Quick menu button and second function button on the thumb rest and the menu/OK and Display/Back buttons below the ‘focus stick’. The latter is a joystick that replaces the conventional arrow pad and is used to select the focus area and navigate the menus.
While the joystick is OK for focus area selection, it’s much less effective for navigating through the camera’s menu system, which is quite complex for a point-and-shoot camera. Fortunately, most key functions can be accessed through the external controls or via the touchscreen.
A lift-up panel on the right hand side of the camera protects the microphone/remote release, HDMI and USB ports. We’re not sure why a mic connector is provided when the camera provides no way to attach an external mic. The USB port is USB 2.0, rather than the faster USB 3 type.
Above this panel is the strap eyelet, which is recessed into the camera body and, while it can accommodate the matching strap supplied with the camera, the tether cord is a tight fit and you need a pin to pull it through. The lens cap tether cord can be attached to the tether cord on the strap.
The battery and memory card slot share a compartment on the right hand side of the base of the camera. The battery is charged through a USB cable and is supplied without charge. It takes about four to five hours to complete the initial charging and the camera becomes a little warm during the process.
A tripod socket is also located on the base panel, although not in line with the lens axis. There’s a three-slot speaker grille at the opposite end of the camera base to deliver monaural audio during playback, although the camera supports stereo recording.
Sensor and Image Processing
Although not equipped with the same X-Trans CMOS as the X100F, the XF10 also offers 24.2-megapixel resolution. Image files are recorded by default in JPEG format but users can opt for RAF.RAW or RAW+JPEG pairs, the latter with Fine and Normal compression for the JPEGs.
A native sensitivity range of ISO 200-12800 is supported for both JPEG and RAF.RAW files and the ISO menu includes three Auto settings in which users can set maximum and minimum sensitivities within the native range. The camera also purports to offer extensions to ISO 100 and ISO 25600 plus ISO 51200 for JPEGs.
Unfortunately, either the extensions were disabled in the camera we received or Fujifilm makes them really hard to use. We followed the instructions provided in the user manual and were unable to find the H and L settings in the review camera’s menu, regardless of which way we accessed the ISO sub-menu.
Unlike the X100F, raw files in the XF10 can only be recorded in the uncompressed format, although, interestingly, the files were smaller. Three aspect ratio settings are available for JPEGs, the default 3:2 plus 16:9 and 1:1. Typical file sizes are shown in the table below.
|Aspect ratio||Image Size||Resolution||Fine||Normal|
|3:2||RAW (uncompressed)||6000 x 4000||43.0MB|
|L||6000 x 4000||12.0MB||7.5MB|
|M||4240 x 2832||6.0MB||3.8MB|
|S||3008 x 2000||3.0MB||1.9MB|
|16:9||L||6000 x 3376||10.1MB||6.3MB|
|M||4240 x 2384||5.05MB||3.2MB|
|S||3008 x 1688||2.6MB||1.6MB|
|1:1||L||4000 x 4000||8.0MB||5.0MB|
|M||2832 x 2832||4.0MB||2.5MB|
|S||2000 x 2000||2.0MB||1.3MB|
The XF10 also offers two JPEG-only ‘digital teleconverter’ settings, ’35mm’ and ’50mm’, which refer to the 35mm equivalent focal lengths they emulate. In each case, the image is cropped and then interpolated up to the selected image size so if you’ve set the camera for Large Fine resolution, the image file will be 6000 pixels wide. Resolution is reduced at each step, as shown in the examples below.
A frame captured by the camera with the digital zoom and stabilisation disabled. The 6000 x 4000 pixel image produces a 9.4MB file.
The same scene with the digital zoom at the 35mm position. The 6000 x 4000 pixels but the file is reduced to 8.8MB.
Zooming in to the 50mm position reduced the file size to 6.4MB but maintains the 6000 x 4000 pixel image.
Two Panorama modes can be selected via the drive settings. They are distinguished by their angle of view (L or M) and their direction. The L setting records an image measuring 9600 x 1440 pixels when the camera is panned horizontally or 2160 x 9600 if the sweep is vertical, while the M setting records 6400 x 1440 and 2160 x 6400 pixels, respectively.
The multiple exposure settings reside in the same sub-menu. You can only combine two exposures and the first shot is displayed superimposed on the view through the lens to allow you to compose the second exposure. Pressing the Menu/OK button saves the combined exposure.
Even though 4K is listed among the video options, the XF10’s capabilities aren’t particularly impressive because the frame rate is limited to 15 fps. PAL format users can, however, record with Full HD and HD resolution at 50 frames/second. (NTSC users get 60 fps.)
The camera also includes a High-speed movie mode at HD resolution with 1.6x, 2x, 3.3x or 4x speeds without sound. Stabilisation isn’t available for the high-speed modes.
Playback and Software
All software for Fujifilm cameras has to be downloaded, including the apps needed for Wi-Fi communication: Fujifilm Camera Remote and Fujifilm PC AutoSave. Fujifilm also provides a more generalised application, MyFinePix Studio, which combines image management, viewing, editing and printing facilities.
The supplied Raw File Converter EX application can also be downloaded but we don’t recommend it since it’s Silkypix-based and consistently delivers very low resolution when converting raw files from the cameras we’ve tested where it’s been the only available software. Fortunately, Capture One for Fujifilm supports the XF10 so you needn’t put up with an inferior raw file processor.
The XF10 is also supported by Adobe Camera Raw (our preferred raw file processor), which is a free plug-in for Photoshop, Photoshop Elements and Lightroom – although the camera isn’t supported in the ‘perpetual’ version of Lightroom. We have used the Adobe software to convert raw files from the review camera for our Imatest tests.
Test shots recorded with the review camera were bright and colourful and showed plenty of detail. Saturation was a little high in the reds and orange hues, a factor confirmed in our Imatest tests. Skin hues were also a little on the warm side.
The sensor/processor combination coped reasonably well with contrasty lighting in the default Auto dynamic range setting, even in quite tricky situations. The lens was reasonably flare resistant, although we found some veiling flare in shots taken with a bright light source just outside the frame.
The close focusing limit of 10 cm restricted the range of subjects suitable for close-up shots and bokeh at f/2.8 was variable. Where backgrounds were evenly-lit, out-of-focus areas were smoothly rendered. However, when there were bright highlights in the backgrounds, they were usually outlined. Depth-of focus was as shallow as you’d expect for an f/2.8 lens with an APS-C sized sensor.
Our Imatest tests showed the review camera to be capable of producing very high quality images, both with JPEGs and raw files. JPEG resolution around the centre of the frame slightly exceeded expectations for the camera’s 24-megapixel sensor, although because the highest resolution was recorded at f/2.8, there was some falling off around the edges of the frame.
In contrast, RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw exceeded expectations both in the centre of the frame and at the periphery, with remarkably high resolution near the centre of the frame. Resolution declined quite steeply as sensitivity was increased, as shown in the graph of our test results below.
As mentioned, the lens was a bit soft around its edges and sharpest at the two widest aperture settings. Thereafter, resolution declined steadily, with diffraction beginning to take effect around f/8. The graph below shows the result of our tests.
No corrections are provided for lens aberrations in the camera’s menu system, although most raw file converters can correct common flaws. Interestingly, we found no signs of coloured fringing in JPEG shots, which indicates some degree of in-camera processing takes place. Raw files showed no obvious distortion and relatively minor vignetting at f/2.8, which indicates both aberrations are low.
In our Imatest tests, lateral chromatic aberration in JPEGs ranged across the ‘low’ category, reaching into the moderate band at f/16 (the minimum aperture). In the graph below the red line separates negligible and low CA, while the green line marks the beginning of moderate CA.
Shots taken at night were good on the whole with very little noise visible and no obvious softening at ISO 12800. However, the camera’s autofocusing system was prone to hunting in low light levels, although it usually found its mark within a second or two.
The flash was relatively feeble, as you would expect from its low guide number. Shots taken at ISO 200 were seriously under-exposed and increasing sensitivity to ISO 800 produced only marginally better results. The flash light appears to be concentrated on the centre of the frame, producing an effect that resembles vignetting.
Overall illumination was better at higher sensitivities, although shots taken at ISO 6400 and ISO 12800 were heavily influenced by the ambient lighting. Some softening was evident at both sensitivities, accompanied by a loss of contrast, sharpness and colour saturation.
Video quality was varied. We would advise against shooting 4K clips because the results are very jerky due to the slow (15 fps) frame rate. Full HD (1080p) clips were quite attractive and the fast 50 fps frame rate delivered smooth recordings. The 24 fps frame rate was also smooth for both FHD and HD clips.
As expected, unless you enable digital stabilisation, Full HD video clips can be shaky when recording handheld in poorly-lit situations. Digital stabilisation worked quite well in adequate lighting, although it cropped the frame.
Soundtrack quality was much as you would expect from a camera like the XF10; acceptable for amateur use but not of professional quality. The small, relatively close positioned microphones delivered recordings without much stereo presence.
Our timing tests were carried out with a 32GB SanDisk Extreme Pro UHS-1 SDHC card, the same card as we used for the X100F tests. The review camera took just under two seconds to power up, which is relatively slow.
We measured an average capture lag of 0.3 seconds, which was eliminated by pre-focusing. Shot-to-shot times averaged 0.6 seconds without flash and 1.8 seconds with flash.
On average, it took 2.7 seconds to process each Large/Fine JPEG file and 3.2 seconds for each RAF.RAW file. RAW+JPEG pairs were processed within 4.1 seconds.
In the high-speed continuous shooting mode. the camera could record nine Large/Fine JPEGs in two seconds before slowing to a rate of approximately two frames/second. The initial rate is slower than the specified 6 fps and the buffer depth is less than the specified 13 frames. This burst was processed in 4.4 seconds.
Swapping to raw files, the camera recorded five frames in 0.8 seconds before pausing, which is, again, slower than the specified rate, although the buffer size is as specified. It took 11.6 seconds to process this burst. With RAW+JPEG pairs, the camera also managed to record five RAW+JPEG pairs in 0.8 seconds but it took 16.2 seconds to process the burst.
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Image sensor: 23.5 x 15.7 mm CMOS sensor with million photosites (24.2-megapixels effective) with primary colour filter
Image processor: Not specified
Lens: Fujinon 18.5mm f/2.8 lens (28mm equivalent in 35mm format)
Zoom ratio: Digital teleconverter to provide 35mm and 50mm equivalent focal lengths
Image formats: Stills – JPEG (DCF / Exif 2.3), RAF.RAW, RAW+JPEG; Movies – MOV with H.264 compression & Linear PCM 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 – 3840 x 2160 at 15p, 1920 x 1080 at 50p/24p, 1280 x 720 at 50p/24p; High-speed movie at 1280 x 720 with 1.6x, 2x, 3.3x or 4x speeds
Shutter / speed range: Lens shutter 30 to 1/4000 seconds plus Bulb (up to 60 minutes); electronic shutter range up to 1/16000 sec.
Bracketing: AE Bracketing (2/3/5/7/9 frames) +/-1/3EV, +/-3EV in 1/3EV steps; 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: 2sec. / 10sec. / Smile / Buddy (LV.1 – LV.3) / Group (1-4 subjects) / Face Auto Shutter
Image Stabilisation: Digital only
Exposure Compensation: +/- 5EV (in 1/3 EV steps); +/-2EV (in 1/3 EV steps) for movies
Focus system/range: 91-point Intelligent Hybrid AF: TTL contrast / phase detection AF, with Single AF / Continuous AF / MF / AF+MF modes; range: 10 cm to infinity
Focus area selection: 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); Face and eye detection supported
Exposure metering/control: TTL 256-zone metering with Multi, Average and Spot modes
Shooting modes: P (Program AE), A (Aperture Priority AE), S (Shutter Speed Priority AE), M (Manual Exposure)
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
Dynamic range settings: Auto, 100%, 200%, 400%; ISO restriction (DR100%: No limit, DR200%: ISO400 or more, DR400%: ISO800 or more)
Filter effects: 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, Rich & Fine, Monochrome (NIR)
ISO range: Auto (3 modes, max ISO 6400), ISO 200-12800 selectable in 1/3 EV steps; Expansion to ISO 100 and ISO 25600, ISO 51200 available
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
Colour space: sRGB, Adobe RGB
Flash /range: GN: approx. 5.26 (ISO100·m), Auto flash (Super Intelligent Flash) / Effective range: (ISO 1600) approx. 30 cm – 7.5 m
Flash modes: Auto / Forced Flash / Suppressed Flash / Slow Synchro / Rear-curtain Synchro / Commander; red-eye reduction is available
Sequence shooting: Max. 6 frames/second
Buffer memory depth: 13 JPEGs, 4-5 raw files, 4-5 RAW+JPEG
Storage Media: SD/SDHC/SDXC cards; UHS-I compatible
LCD monitor: 3.0-inch, 3:2 aspect ratio TFT colour LCD, approx. 1,040,000 dots, touch screen
Playback functions: RAW conversion (to JPEG), 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/communications: Micro USB 2.0 High-Speed, Type D HDMI Micro connector, 2.5mm MIC/Remote Release jack
Wireless connections: IEEE 802.11b / g / n (standard wireless protocol), Bluetooth Ver. 4.1 (Bluetooth low energy)
Power supply: NP-95 lithium-ion battery, CIPA rated for approx. 330 frames/charge
Dimensions (wxhxd): 112.5 x 64.4 x 41.0 mm
Weight: Approx. 278.9 grams (with battery and memory card)
Distributor: Fujifilm Australia; 1800 226 355; www.fujifilm.com.au
Based on JPEG files from the review camera:
Based on RAF.RAW files converted into 16-bit TIFF format with Adobe Camera Raw:
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 lighting.
Vignetting at f/2.8.
30-second exposure at ISO 200, f/2.8.
20-second exposure at ISO 800, f/3.6.
5-second exposure at ISO 6400, f/5.
2.5-second exposure at ISO 12800, f/5.6.
Flash exposure at ISO 200, 1/28 second at f/2.8..
Flash exposure at ISO 800, 1/28 second at f/2.8..
Flash exposure at ISO 6400, 1/28 second at f/2.8.
Flash exposure at ISO 12800, 1/58 second at f/2.8.
Close up; ISO 200, 1/400 second at f/2.8.
Outlined highlights in a backlit close-up; ISO 200, 1/250 second at f/2.8.
Strong backlighting with a hint of veiling flare; ISO 200, 1/52 second at f/11.
Backlit subject; ISO 200, 1/500 second at f/6.4.
Crop from the above image enlarged to 100% to show the absence of coloured fringing.
Wide brightness range subject with Auto DR engaged; ISO 200, 1/420 second at f/5.6.
1:1 aspect ratio; ISO 200, 1/400 second at f/9.
16:9 aspect ratio; ISO 1600, 1/28 second at f/5.6.
ISO 200, 1/500 second at f/6.4.
ISO 200, 1/100 second at f/2.8.
ISO 200, 1/300 second at f/5.6.
Wide brightness range subject; ISO 400, 1/500 second at f/8.
ISO 200, 1/850 second at f/5.6.
ISO 400, 1/320 second at f/3.2.
ISO 800, 1/125 second at f/2.8.
ISO 800, 1/4 second at f/5.6. Digital stabilisation off.
ISO 500, 1/28 second at f/5.6.Digital stabilisation on.
Still frame from 4K (3840 x 2160 pixels) video 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.
RRP: AU$799; US$499.95
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.3
- Image quality JPEG: 8.9
- Image quality RAW: 9.0
- Video quality: 8.3