Fujifilm X-H2

In summary

The Fujifilm X-H2 provides quality performance, high resolution for stills and video with a relatively compact camera body that can be used with a very wide range of lenses.

Unlike some camera manufacturers, Fujifilm makes its lens mount data available to third-party lens manufacturers, so there are plenty of options available outside its own, already substantial, range.

The ability to record 8K 30/25p video is another significant drawcard and the X-H2 supports most popular codecs.

Full review

Announced in early September 2022, Fujifilm’s new X-H2 camera becomes the latest ‘flagship’ model in its cropped-sensor line-up. Boasting the highest sensor resolution in the X-mount line-up, it can record 40-megapixel stills and 8K video clips, but is not quite as fast as its sibling, the 26-megapixel X-H2S, which we reviewed in July. Both models come with X-Trans CMOS 5 BSI sensors but only the X-H2S has a stacked CMOS chip, which is partially responsible for its speed. We received the review camera with the new XF 56mm f/1.2 R WR lens, which is reviewed separately.

Angled view of the new Fujifilm X-H2 camera, as reviewed, with the Fujinon XF56mm f/1.2 R WR lens. (Source: Fujifilm.)

The new X-H2 camera will be offered as a body alone for AU$3399 (RRP), which is the same RRP as listed for the X-H1 when it was reviewed in February 2018. Like the original X-H1, the X-H2 will also be bundled with the XF 16-80mm f/4 R OIS WR lens for an RRP of AU$4249.

Because its body is virtually identical, the X-H2 accepts the same accessories as the X-H2S camera, as outlined below. Shooting capacity can be extended by fitting the optional vertical VG-XH battery grip of the FT-XH file transfer grip (shown below), both of which accept two NP-W235 batteries. The FT-XH unit also provides wired LAN connectivity and high-speed wireless communications capability to allow in-studio tethered shooting or rapid file transmission for sports and journalistic files.

Angled view of the new Fujifilm X-H2 camera, shown with the optional FT-XH file transfer grip and Fujinon XF56mm f/1.2 R WR lens. (Source: Fujifilm.)

The X-H2 can also be fitted with the optional FAN-001 cooling fan, which attaches to the rear of the camera body without a cable. By directing a stream of air across the rear panel, it can reduce the risk of the camera shutting down as a result of over-heating.

The CVR-XH cover kit provides five purpose-designed covers for protecting various terminals on the camera, including the x-sync port, hot-shoe, vertical grip and cooling fan contacts and the memory card compartment.

What’s New?
The combination of the 40-megapixel sensor and the high-speed X-Processor 5 image processor, which is also used in the X-H2S camera, enables a couple of ‘firsts’ for Fujifilm’s X-mount cameras. The X-H2 is the first of its type to support 8K video at up to 30 fps (25 fps for PAL system countries), delivered from the full width of the sensor

It also provides a 6.2K mode with a 16:9 aspect ratio, an improvement on the similar mode in the X-H2S, which produces output in a 3:2 ratio. In addition, users can opt for an over-sampled 4K ‘HQ’ mode with frame rates up to 60 fps (50fps for PAL users).

This diagram shows how the Pixel Shift Multi-Shot function records and combines 20 frames to produce a single 160-megapixel image. (Source: Fujifilm.)

The X-H2 is also the first to offer a Pixel Shift Multi-Shot compositing function, which can produce a 160-megapixel image by combining 20 reference frames, which are recorded automatically as RAF.RAW files while the sensor is shifted in half-pixel increments using the stabilisation system, as shown above.

This mode is one of the Drive mode settings and users can choose from five shot interval options: Short, 1s, 2s, 5s and 15s. The resulting frames are recorded as raw files and must be composited in post-production using the special ‘Pixel Shift Combiner’ software, which is available to download free of charge. The resulting image should be output as a DNG.RAW file.

Unfortunately each of the four multiple shot sequences we recorded produced the same result as the screen grab shown above and, with the minimal information provided in the software we had no way to get the images to combine.

Individual settings enable users to create up to seven combinations of custom function settings, which are quick and easy to implement directly from the camera’s mode dial. There appear to be few, if any, limitations on the parameters you opt to include.

As well as the usual customisable buttons, customisation also extends to setting what data is displayed on the EVF and monitor screens and the size of the displays as well as setting different options for stills shooting and video modes. In total, 73 settings are available for selection and assignment.

The focus meter display. (Source: Fujifilm.)

The X-H2 also provides a focus meter as an additional Manual Focus assist during movie recording to enable users to make more precise focus adjustments.  It can be used in tandem with focus peaking. The movie AF algorithm has been optimised to improve autofocus accuracy, particularly when shooting 8K movies.

Who’s it For?
The target market for the X-H2 is professional and serious enthusiast photographers who require a combination of high resolution for stills and video with a relatively compact camera body that can be used with a very wide range of lenses. Unlike some camera manufacturers, Fujifilm makes its lens mount data available to third-party lens manufacturers, so there are plenty of options available outside its own, already substantial, range.

The ability to record 8K 30/25p video is another significant drawcard and the X-H2 supports most popular codecs, with a choice of H.264 or H.265 compression,4:2:0 or 4:2:2 subsampling and Long-GOP or All-I encoding. There’s also the option to record ProRes 422 HQ, 422, or 422LT files to fit into a professional workflow and the camera can output 8K raw video as ProRes RAW to an Atomos Ninja V+ recorder or BRaw for a Blackmagic Video Assist system. Log recording is also available.

Build and Ergonomics
The body of the X-H2 is almost identical to the X-H2S, save for its name plate. It also sports the same weather-resistant sealing the same control interface, which is inherited from recent GFX medium-format models.

The viewfinder and screens are also the same, giving the new camera a 5,760,000-dot OLED EVF with a 24 mm eyepoint, 0.80x magnification, -5 to +3 dioptre adjustment and an eye-detection sensor. The 3.0-inch vari-angle, touch-screen monitor has a resolution of 1,620,000 dots and a 3:2 aspect ratio.

Front view of the X-H2 with no lens fitted. (Source: Fujifilm.)

Rear view of the X-H2 with the articulating monitor reversed. (Source: Fujifilm.)

Top view of the X-H2 with the Fujinon XF56mm f/1.2 R WR lens. (Source: Fujifilm.)

Similarly, dual card slots accept readily-available SD cards (all ‘flavours’) and a CFexpress Type B card with up to 2GB capacity. You’ll need the latter if you want to record high-resolution video for more than about a minute per clip.

The mechanical shutter is CIPA rated to support 500,000 cycles, which is pretty standard for pro-level cameras. It supports a maximum shutter speed of 1/800 second and continuous shooting at up to 15 frames/second. Electronic shutter speeds extend the range to 1/80,000 second with silent shooting.

Autofocusing is the same as in the X-H2S, with subject-detection AF based on Deep Learning technology that automatically detects and tracks a broader range of subjects. For human subjects, this includes the ability to detect and focus on the face and/or eye of people wearing glasses or masks and in profile or semi-profile.

Animal detection encompasses birds, cats, dogs and horses, while the system can also detect and focus upon a wide variety of cars (including sports and rally cars), motorbikes and bicycles, airplanes and trains. We also found it could easily detect sailing dinghies. Fujifilm says focus detection in the AF-S mode should also deliver better performance with subjects like landscape and portrait photography.

The NP-W235 battery is the same as used in the X-H2S, X-T4, GFX100S and GFX50S II. It is CIPA rated for approximately 540 shots/charge in standard mode or 680 shots/charge with the Economy setting or approximately 70 minutes of 8K recording, 75 minutes at 4K resolution or 85-90 minutes with Full HD resolution. The camera can also be powered and have its battery charged from a suitable USB PD source.

Sensor and Image Processing
As mentioned, the 40.2-megapixel X-Trans CMOS 5 HR sensor sets the X-H2 apart from all previous X-mount cameras. It’s combined with the same X-Processor 5 as used in the X-H2S and the X-H2 supports the same recording options, although its maximum continuous recording speed is lower at 20 fps (only available with the electronic shutter, which applies a 1.29x frame crop). Otherwise, ISO sensitivity is the same as in the X-H2S.

Three capture formats are available for stills: JPEG, HEIF (4:2:2 10-bit) and Fujifilm’s proprietary 14-bit RAF.RAW.  A JPEG or an HEIF image can be combined with a raw file, if desired and users can ‘sort’ the files to be saved on different cards when setting the Recording Media options.

Three images size are supported for JPEG and HEIF files Large, Medium and Small, along with five aspect ratio settings (the default 3:2 ratio plus 4:3, 16:9, 1:1 and 5:4) and four ‘panorama’ options which stitch together video frames recorded as the camera is panned across a scene vertically or horizontally The table below shows the maximum file sizes available for still image capture at each of the five aspect ratios plus the panorama settings.

Image size	Resolution in pixels/megapixels
	Aspect ratio
	3:2	4:3		16:9	1:1	5:4
L	7728 x 5152	6864 x 5152		7728 x 4344	5152 x 5152	6432 x 5152
M	5472 x 3648	4864 x 3648		5472 x 3080	3648 x 3648	4560 x 3648
S	3888 x 2592	3464 x 2592		3888 x 2184	2592 x 2592	3264×2592
Panorama vertical L			9600 x 2160
Panorama horizontal L			9600 x 1440
Panorama vertical M			6400 x 2160
Panorama horizontal M			6400 x 1440

The X-H2’s buffer memory capacity for continuous shooting can accommodate more than 1000 continuously recorded frames for most file formats, including compressed raw.  There’s an upper limit of 202 frames for uncompressed raw files recorded at the maximum rate of 20 fps with the electronic shutter.

When file formats are combined, up to 223 uncompressed RAW+JPEG pairs can be stored during continuous shooting at 13 fps or 302 uncompressed RAW+JPEG pairs at 8.9 fps. The camera can also store up to 20 frames in pre-shot mode (before the shutter button is fully pressed).

Video
The X-H2 is currently the only cropped-sensor ‘hybrid’ stills/video camera capable of 8K recording and this footage can only be recorded in the ProRes 422 MOV format with H.265 compression and it must be stored on the CFexpress card. The table below shows the options available for recording movies with this camera for users in PAL system countries.

Resolution / Aspect	Pixels	Frame rate	File format/ Compression	Bit rate	Bit depth
8K 16:9	7680 x 4320	25p	ProRes 422 HQ MOV ProRes 422 MOV ProRes 422 LT MOV	3520Mbps / 2352Mbps / 1632Mbps	10 bit
			H.265 (ALL-I & Long GOP) 4:2:2 MOV	720Mbps
6.2K 16:9	6240 x 3510	25p	ProRes 422 HQ MOV ProRes 422 MOV ProRes 422 LT MOV	2324Mbps 1553Mbps 1077Mbps	10 bit
			H.265 (ALL-I & Long GOP) 4:2:2 MOV	720Mbps
DCI 4K 17:9 UHD 4K 16:9	4096x 2160 3849 x 2160	50p 25p	ProRes 422 HQ MOV ProRes 422 MOV ProRes 422 LT MOV	1877Mbps 1254Mbps 870Mbps	10 bit
			H.265 (ALL-I & Long GOP) 4:2:2 MOV	720Mbps	10 bit
			H.264 (ALL-I & Long GOP) 4:2:0 MOV	360Mbps	8 bit
FHD 17:9 FHD 16:9	2048 x 1080 1920 x 1080	50p 25p	ProRes 422 HQ MOV ProRes 422 MOV ProRes 422 LT MOV	440Mbps 294Mbps 204Mbps	10 bit
			H.265 (ALL-I & Long GOP) 4:2:2 MOV	720Mbps	10 bit
			H.264 (ALL-I & Long GOP) 4:2:0 MOV	360Mbps	8 bit
High speedFHD 17:9 FHD 16:9	2048 x 1080 1920 x 1080	200 fps 100 fps	ProRes 422 HQ MOV ProRes 422 MOV ProRes 422 LT MOV	1760Mbps 1176Mbps 816Mbps	10 bit
			H.265 (ALL-I & Long GOP) 4:2:2 MOV	720Mbps	10 bit
			H.264 (ALL-I & Long GOP) 4:2:0 MOV	360Mbps	8 bit

The X-H2 also features a digital zoom function that uses the camera’s 40.2-megapixel sensor to deliver up to 2x of digital zoom with minimal loss of resolution. However, it can only be used when recording 4K video.

All video shot with the PRO RES 42 MOV and MPEG-4 formats is recorded with linear PCM stereo sound at 24-bit depth and 48 KHz sampling. MP4 video recording is also available with H.264 compression and AAC audio.

Movies recorded with the ProRes codec can only be recorded to a CFexpress Type B card. For other codecs, an alternative option is an SD card with UHS Speed Class 3 or Video Speed Class 90 as a minimum specification for high-resolution / high bit rate movies.

Professional recording options include support for F-Log, F-Log2 and HLG (Hybrid-Log Gamma), which can expand the dynamic range to encompass more than 13 stops. The camera also sports a full-sized HDMI port, which allows users to output an 8K ProRes RAW video stream to  an Atomos Ninja V+ external recorder or, alternatively in BRaw format for those who use Blackmagic Video Assist.

Software
The X-H2 comes with the normal suite of bundled software that is sourced through Fujifilm’s Global support pages. The following applications are available to download:
RAW FILE CONVERTER EX 3.0 powered by SILKYPIX
FUJIFILM X RAW STUDIO, which uses the image processor in the camera instead of the CPU in the computer to process raw files directly from the camera.
FUJIFILM X Acquire for transferring images directly from the camera to your computer.
FUJIFILM X Webcam.
FUJIFILM Pixel Shift Combiner.
Tethered Shooting Software HS-V5 for Windows.
FUJIFILM PC AutoSave.

Fortunately, the X-H2 is supported by Adobe Camera Raw, our preferred raw file converter, so we had no need for the Silkypix application (which has consistently delivered poor outcomes in past use). To maintain consistency with other reviews, we didn’t try out the Fujifilm raw converter.

Performance
We tested the review camera with the new XF 56mm f/1.2 R WR lens, which is reviewed separately. JPEGs straight from the camera were sharp, colour-accurate and subjectively, we found the camera’s colour reproduction to be true-to-life with the default Provia/Standard setting.

As expected, the dynamic range in JPEGs with the camera’s default settings was limited, with a tendency to clip highlights. Fortunately the raw files retained highlight detail and, in most cases, delivered a wide dynamic range.

At the highest ISO settings noise was much more visible in converted RAF.RAW files than in JPEGs due to relatively high levels of noise-reduction processing in the latter. Examples showing differences between the two file formats are provided in the Samples section of this review.

Our Imatest testing showed the anticipated differences in colour reproduction between JPEG and RAF.RAW files from the camera, the latter being converted into TIFF format with Adobe Camera Raw. The Standard Film Simulation mode produced slightly above average saturation overall in JPEGs, while  mean camera saturation in converted RAF.RAW files captured at the same time was a little lower, allowing scope for further editing.

Imatest also showed the camera and 56mm lens to be a capable combination. Measurements on JPEG files came close to the expected resolution, while those made on RAF.RAW files were well above expectations.

This is a very good result made even better because this level of performance was maintained across most of the camera’s sensitivity range, with only the top two settings falling short. The graph below shows the comparison between JPEG and converted uncompressed RAF.RAW files across the review camera’s ISO range.

Test shots at night showed little evidence of noise up to ISO 6400. After that point, however, shadow details became compromised by reduced contrast and softening and we’d recommend reserving the ISO 51200 setting for situations where no alternative was possible. Interestingly, colour accuracy and intensity were retained to a great extent throughout the sensitivity range.

Having no flash, we could only test the review camera with tungsten, fluorescent and warm-toned LED lights.  Overall performance with the auto settings was good, as expected, with the white priority setting delivering neutral – or close to neutral – colour rendition under all three lighting types.

As expected, the other auto settings reflected the warm bias of the tungsten lighting – with the warm-toned LED to a lesser degree. Interestingly the Incandescent lighting pre-set delivered shots with a faint purplish cast with the Auto and ambient settings.

The three fluorescent presets and the tungsten pre-sets tended to over-correct slightly, although not to the degree we’ve encountered with many other cameras. There’s no white balance pre-set for LED lighting but the X-H2 provides plenty of in-camera adjustments for tweaking colours on-the-fly and they are straightforward to use.

We found autofocusing to be consistently excellent, even with the auto subject detection mode disabled. Very little hunting occurred with the 56mm lens, even when shooting close-ups in low light levels and in high-contrast situations.

Autofocusing for movies was equally fast and accurate, and the camera was able to pick up subjects entering the frame and switch quickly to focus on them and then back to the scene as they exited the frame. Even without subject detection enabled, there were few problems finding the nearest subject in the frame to track.

Overall video quality was excellent, especially with the 8K resolution, although we did detect signs of the rolling shutter effect in a couple of clips we recorded. We only checked two frame rates, 25 fps and 50 fps, since Australia is a PAL system country and interestingly, you had to look closely at frame transition with relatively fast-moving subjects to see any difference between them.

In normal footage, sharpness, colour rendition and smoothness remained relatively constant across the resolutions we checked out. We also looked at the two Log recording modes, which dramatically reduce contrast and saturation, and also the HLG mode, which is designed to produce footage that is easier to playback outside of professional workflows. Many recently-released TV sets support HLG or can be updated to do so.

The built in microphones delivered usable soundtracks and we didn’t detect any camera or lens noises in the soundtracks. However, without an external microphone or recording device, we were unable to test the full audio recording capabilities of the camera.

Our timing tests were carried out with 64GB SanDisk Extrene PRO CFexpress card with a read speed of 1500MB/sec. and write speed of 800 MB/sec. in Slot1 and a Lexar Professional   32GB SDHC II card with a speed of 300 MB/second in Slot 2. We set the camera to record raw files to Slot 1 and JPEGs to Slot 2.

The review camera powered-up in roughly half a second, which is acceptably fast. Capture lag times ranged from 0.3 when the lens was out-of-focus to an average of 0.1 seconds without pre-focusing. This lag was eliminated when shots were pre-focused.

Processing of single shots took 1.5 seconds on average, regardless of whether it was a JPEG, a RAF.RAW file or a RAW+JPEG pair. Shot-to-shot times in the single-shot mode averaged 0.4 seconds, which was as fast as we could keep pressing the shutter. Processing was completes within 1.3 seconds of the final shot.

The fastest burst rate for full-size frames is 15 fps so we used that setting first for testing burst shooting. In this mode, the camera recorded 102 Large/Fine JPEG frames in 9.4 seconds, which is roughly 11 fps and is a little slower than the specified frame rate. It took 4.1 seconds to process this burst.

When we swapped to recording raw files, the camera recorded 104 frames in 9.6 seconds without stopping. This burst took 16.4 seconds to process.

The fastest burst speed of 20 fps is only achievable with the electronic shutter and the camera will crop the frame by 1.29x. In our test, we recorded 206 Large/Fine JPEGs in 9.6 seconds, which is a little faster than the specified frame rate. It took 8.9 seconds to process this burst.

Conclusion

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SPECS

Image sensor: 23.5 x 15.6 mm X-Trans BSI-CMOS 5 HR sensor with 40.2  megapixels effective, primary colour filter
Image processor:  X-Processor 5
Lens mount:  Fujifilm X mount
Focal length crop factor:  1.5x
Image formats: Stills: JPEG (Exif Ver. 2.32), HEIF-4:2:2 10bit, RAF.RAW (14-bit), RAW+JPEG, TIFF-8-bit/16-bit RGB (in-camera raw conversion only); Movies: MOV/ Apple ProRes (422, HQ, LT), HEVC/ H.265, MPEG-4 and MP4, AVC/ H.264 with  All Intra/Long-GOP compression
Audio: Linear PCM and AAC
Image Sizes: Stills – L: 7728 x 5152, 7728 x 4344,  5152 x 5152; M: 5472 x 3648, 5472 x 3080, 3648 x 3648; S: 3888 x 2592, 3888 x 2184, 2592 x 2592; Movies:  8K (7680×4320) and 6.2K (6240×3150) at 29.97p/ 25p/ 24p/ 23.98p, DCI 4K (4096×2160) and 4K (3840×2160) at 59.94p/ 50p/ 29.97p/ 25p/ 24p/ 23.98p, Full HD (2048×1080 and 1920×1080) at 59.94p/50p/29.97p/25p/24p/23.98p plus high-speed recording at 240p/200p/120p/100p
Aspect ratios: 3:2, 16:9, 1:1
Image Stabilisation: Image sensor shift mechanism with 5-axis compensation, up to 7.0 stops pitch/yaw correction with XF35mm f/1.4 R lens
Dust removal: Ultra Sonic Vibration
Shutter (speed range): Focal Plane Shutter (Mechanical shutter 30-1/8000 seconds plus Bulb to 60 min; Electronic shutter: 30 to 1/80,000 second; up to15 min in S/M modes); X-sync at 1/250 sec mechanical shutter or 1/125 sec electronic shutter
Exposure Compensation: +/-5 EV in 1/3EV steps (+/-2EV for movies)
Exposure bracketing:  2, 3, 5, 7 or 9 in increments of 1/3EV across +/-3EV
Other bracketing options: Film Simulation, Dynamic Range, ISO, WB, focus
Self-timer: 2 or 10 seconds delay selectable
Interval recording: Yes, for time-lapse
Focus system: Intelligent Hybrid AF (TTL contrast/TTL phase detection)
AF  selection: Single point (13×9/25×17 adjustable), Zone AF (3×3/5×5/7×7 from 117 areas on 13×9 grid), Wide/Tracking AF
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering:  256-zone multi-pattern sensing system with Multi, Centre-weighted,  Average and Spot metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure
Film Simulation modes: PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, Classic Chrome, PRO Neg.Hi, PRO Neg.Std, Classic Neg., Nostalgic Neg., ETERNA Cinema, ETERNA BLEACH BYPASS, ACROS, ACROS + Ye Filter, ACROS + R Filter, ACROS + G Filter, Black & White, Black & White + Ye Filter, Black & White + R Filter, Black & White + G Filter, Sepia
Filter settings: Toy camera, Miniature, Pop colour, High-key, Low-key, Dynamic tone, Soft focus
Other in-camera adjustments: Clarity (+/-5 steps), Monochromatic colour, Grain effect (Roughness: Strong, Weak, Off; Size: Large, Small), Colour Chrome Effect, Colour Chrome Blue, Dynamic Range (AUTO, 100%, 200%, 400%), HDR mode
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 125-12800 in 1/3 steps plus extensions to ISO 80, ISO 100, ISO 25600, ISO 51200
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
Flash: Hot-shoe for external flashguns (EF-X8 GN approx. 8/ISO100m)
Flash modes: TTL (TTL Auto / Standard / Slow Sync. ) / Manual / Commander / Off Shoe Mount Flash TTL (TTL Auto / Standard / Slow Sync. ) / Manual / Multi; 1st / 2nd Curtain sync available
Sequence shooting: Max. 20 frames/sec. with electronic shutter & 1.29x crop, 15 fps with mechanical shutter
Buffer capacity: 1000+frames JPEG, compressed RAW; 202 frames uncompressed RAW
Storage Media: Dual slots for CFexpress Type B Card (-2TB) and SD, SDHC, SDXC cards (UHS-I / UHS-II /  V90 compatible) cards
Viewfinder: 0.5 inch OLED colour EVF with approx. 5.76 million dots, approx. 100% FOV coverage, 24 mm eyepoint, -5 to +3 dpt adjustment, 0.80x magnification, built-in eye sensor
LCD monitor: 3.0-inch vari-angle Touch Screen Colour LCD with 1.62 million dots, 3:2 aspect ratio
Interface terminals: USB Type-C (USB3.2 Gen2x1), HDMI Type A, 3.5 mm ports for microphone and headphones, 2.5 mm remote release connector
Wi-Fi function: Built-in Wi-Fi (IEEE802.11a/b/g/n/ac); Bluetooth v4.2 (Bluetooth Low Energy)
Power supply: NP-W235 rechargeable Li-ion battery; CIPA rated for approx. 580 shots/charge with monitor (720 frames in Economy mode) or up to 70 minutes of 8K video
Dimensions (wxhxd): Approx. 136.3 x 92.9 x 84.6 mm
Weight: Approx. 660 grams with battery and card

Distributor: Fujifilm Australia; 1800 226 355

 

TESTS

Based on JPEGs recorded with the XF 56mm f/1.2 R WR lens.

Based on RAF.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.

 

SAMPLES

All shots taken with Fujinon XF 56mm f/1.2 R WR lens.

Auto white balance with incandescent lighting, white priority.

Auto white balance with incandescent lighting, ambience priority.

Auto white balance with fluorescent lighting, white priority.

Auto white balance with fluorescent lighting, ambience priority.

Auto white balance with warm-toned LED lighting, white priority.

Auto white balance with warm-toned LED lighting, ambience priority.

60-second exposure at ISO 64, f/3.2.

20-second exposure at ISO 125, f/2.8.

15-second exposure at ISO 800, f/6.3.

2.5-second exposure at ISO 6400, f/8.

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

1-second exposure at ISO 25600, f/11. Top image from JPEG, lower image from RAF.RAW file.

1/3-second exposure at ISO 51200, f/9. Top image from JPEG, lower image from RAF.RAW file.

ISO 250, 1/200 second at f/2. Top image from JPEG, lower image from RAF.RAW file.

Stabilisation test; ISO 100, 1.3 seconds at f/11.

JPEG original in low light levels; ISO 800, 1/4 second at f/8.

JPEG original in low light levels; ISO 6400, 1/26 second at f/8.

JPEG original in low light levels; ISO 51200, 1/250 second at f/8.

ISO 125, 1/125 second at f/2.

From RAF.RAW file; ISO 200, 1/850 second at f/5.

ISO 200, 1/180 second at f/8.

ISO 200, 1/50 second at f/16.

ISO 125, 1/450 second at f/3.6.

ISO 125, 1/500 second at f/5.6.

Panorama mode with in-camera stitching; ISO 200, 1/125 second at f/11.

Still frame from 8K 16:9 (7680 x 4320 pixels) video clip recorded at 25p.

Still frame from 6.2K 16:9 (6240 x 3510 pixels) video clip recorded at 25p.

Still frame from 4K 16:9 (3840 x 2160 pixels) video clip recorded at 50p.

Still frame from C4K 17:9 (4096 x 2160 pixels) video clip recorded at 25p.

Still frame from Full HD 17:9 (2048 x 1080 pixels) video clip recorded at 50p.

Still frame from Full HD 16:9 (1920 x 1080 pixels) video clip recorded at 50p.

Still frame from 8K video clip recorded with the F-Log setting.

Original frame from 8K video clip recorded with the F-Log2 setting (top). Edited version of the F-Log clip (below)

Still frame from 8K video clip recorded with the HLG setting.

Additional image samples can be found with our review of the XF 56mm f/1.2 R WR lens.

 

Rating

RRP: AU$3,399 (body only); body with XF16-80mm f/4 R OIS WR kit AU$4,249

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

 

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