Fujifilm X-Pro3

      Photo Review 8.8

      In summary

      The X-Pro3 is aimed at serious photographers who have grown up with rangefinder cameras and want to shift to digital capture without losing the traditional rangefinder control layout. While retaining an optical viewfinder and traditional stills-focused controls, the new camera features the same X-Processor 4 processor and 26.1-megapixel X-Trans sensor as the X-T3 and the recently-released X-T4 ‘flagship’ model, so deciding between them will inevitably come down to which type of body you prefer.

      A new autofocusing algorithm enables the X-Pro3 to focus in light levels down to -6EV, which is near pitch-darkness. This feature, plus the rugged body and comprehensive weatherproof sealing could make it a worthwhile choice for photojournalists and street shooters who prefer using smaller APS-C sized equipment.

      Apart from a few issues outlined in the Full Review, overall we found the X-Pro 3 a pleasure to use.


      Full review

      We’ve been expecting an update to Fujifilm’s three-year-old X-Pro2 since well before the official announcement of the X-Pro3 on 23 October 2019. For various reasons, it’s taken a while for a review sample of the X-Pro3 to reach us. The new camera has the same 26-megapixel X-Trans sensor and X-Processor 4 as the X-T4 ‘flagship’ model, which was announced in late February. The redesigned AF system and addition of 4K video support were no surprise, either, but few anticipated the updates to the camera’s displays, including the OLED screen in the EVF.

      Angled view of the new Fujifilm X-Pro3 camera with the XF35mm f/2 R WR lens. (Source: Fujifilm.)

      Since the first model in the X-Pro series was launched in January 2012, Fujifilm has used this line to experiment with combinations of digital and analog functions to meet the wants and needs of an older, more traditionally-orientated audience most of whom grew up with film-based photography. The rangefinder styling, analog controls and hybrid optical/electronic viewfinder are retained across the three models.

      Like its predecessor, the X-Pro2, the X-Pro3’s chassis is made from magnesium alloy but its top and base plates are made from stronger and lighter titanium cladding. It is offered in black plus two (more expensive) ‘premium’ colour options, DURA Black and DURA Silver, achieved through a new DuraTect process that provides extra scratch and corrosion resistance.

      The three colour options for the new Fujifilm X-Pro3 camera. (Source: Fujifilm.)

      All three versions are dust and moisture resistant, with sealing applied at 70 points to provide protection. The camera can also be used at temperatures down to -10 degrees Celsius.

      We received the review camera with the Fujinon XF 16-55mm f/2.8 R LM WR lens which is reviewed separately. We found it to be a good partner for the sophisticated X-Pro3.

      Who’s it For?
      The target market for the X-Pro3 is essentially the same as for its predecessor: serious photographers who have grown up with rangefinder cameras and want to shift to digital capture without losing the traditional rangefinder control layout. While retaining an optical viewfinder and traditional stills-focused controls, the new camera features the same X-Processor 4 processor and 26.1-megapixel X-Trans sensor as the X-T3 and the recently-released X-T4 ‘flagship’ model so deciding between them will inevitably come down to which type of body you prefer.

      And that is largely influenced by the monitor, which is the same 3-inch touch-screen with 1,620,000-dot resolution as the one used for the X-T3 and X-T4 now faces inwards but can be flipped down with click stops at 90 and 180 degrees. Fujifilm clearly wants users of this camera to rely mainly on the viewfinder for shot composition.

      While that’s fine in theory, once you fit a lens to the camera you’ll find the optical viewfinder becomes partly obscured. How much depends on the size of the lens you’re using but, with the XF 16-55mm f/2.8 R LM WR lens we’d estimate roughly 30% of the field of view on the left side of the frame was blocked off.

      Switching to the EVF restored the full field of view. But it raises the question: why include an OVF in the first place? The EVF is bright, clear and easy to read, with decent eye relief and minimal refresh lag so most photographers will bypass the OVF and simply use this screen.

      A new autofocusing algorithm enables the X-Pro3 to focus in light levels down to -6EV, which is near pitch-darkness. This feature, plus the rugged body and comprehensive weatherproof sealing could make it a worthwhile choice for photojournalists and street shooters who prefer using smaller APS-C sized equipment.

      Build and Ergonomics
      Physically, the new model continues the rangefinder styling of its predecessors, with only minor cosmetic changes to the front and top panels, as shown in the illustrations below. The dual card slots introduced in the X-Pro2 carry over to the new camera, where they’re located beneath a large cover on the right hand side panel.

      Front views of the Fujifilm X-Pro2 (top) and X-Pro3 (below) with the XF 35mm f/2.0 R WR lens fitted. (Source: Fujifilm.)

      The top panel layout is unchanged from the X-Pro2, which means ISO adjustments are made via a sub-dial in the shutter speed dial. Like the X-Pro2, the X-Pro3’s ISO settings are adjusted manually by pulling up the knurled ring around the main dial. Fujifilm wants users to select one of the three Auto presets, which can be programmed by the user instead of setting ISO manually (which is seriously inconvenient).

      Top view of the Fujifilm X-Pro3(Titanium silver version) with the 35mm f/2 lens fitted. (Source: Fujifilm.)

      Most of the changes have taken place on the rear panel where, as mentioned above, the monitor faces inwards and flips down. This design means it’s easier to frame shots with the viewfinder, although you can also shoot from waist level or higher or lower positions with the screen flipped down.

      Back view of the Fujifilm X-Pro3 with the monitor screen flipped down. (Source: Fujifilm.)

      A new 1.28-inch sub-monitor has been added to the back of the monitor panel. This 1:1 aspect ratio Colour Memory LCD sub-screen harks back to the memo holders on the back of film cameras into which photographers could slip the torn-off end of a film package to remind them what they had loaded. Two mode settings are provided: ‘Classic’, a colour screen that looks like a film box and the monochrome Standard mode that provides more information.

      The two modes available for the 1.28-inch Colour Memory LCD screen on the back of the main monitor. (Source: Fujifilm.)

      You can’t adjust this screen; it can’t be used to frame or review shots or navigate the camera’s menu system and it will only display exposure settings implemented in the camera. But it will continue to show them whether the camera is turned off or on, although its visibility is influenced by the viewing angle and ambient lighting.
      Above the monitor are two buttons; one handling drive and delete settings and the other the AE-L/AF-L button. To the right of the latter is the rear scroll wheel, which sits above four controls. The joystick is located at the top, above the Menu/OK, Play and Display/Back buttons. The Quick Menu button can be found on the thumb rest, which extends down from the exposure compensation dial on the rear corner of the top panel. Functions added include a new transparent background option and the ability to choose the number of icons displayed (from 16, 12, 8 or 4).

      Below the Display/Back button is an indicator light which glows green when focus is locked, blinks green as a focus or slow shutter speed warning, glows orange while recording files to a memory card (the shutter locks during this time), blinks green and orange while recording pictures or uploading them to an external device and blinks red to indicate a lens or memory error (e.g. when no memory card is loaded). This light also glows green when the battery is being charged.

      The ‘Advanced Hybrid Viewfinder’ is located at the top left hand corner of the rear panel. It’s based on the previous model in that it combines optical and electronic ‘finders but the EVF is the same 3,690,000-dot OLED screen as is used in the X-T3 and X-T4 with a refresh rate of 100 fps to ensure smooth rendition of moving subjects. The OVF has a wider field of view and longer eyepoint than the X-Pro2’s as well as less distortion.

      As before, an overlaid white frame outlines the area the lens will capture, adjusting seamlessly when lenses are changed and to compensate for parallax errors. Basic shooting data is displayed below the frame in OVF mode. Dioptre adjustment is via an inset wheel to the left of the ‘finder, while a lever switch on the front panel toggles between optical and electronic modes.

      We found a minor problem with the inwards-facing monitor when we put the camera on a tripod. The mounting plate on the tripod head prevented the screen from flipping down further than about 90 degrees. It wasn’t actually unusable, just not quite as easy to use as a rearward-facing screen.

      Two SD card slots (both UHS-I/UHS-II compatible) are located beneath a locking cover in the right hand side of the camera. The Micro HDMI port on the left side panel is gone and a new USB Type C connector replaces the X-Pro2’s Micro USB port.  It can be used to recharge the camera’s battery or connect the camera to a computer for tethered shooting or to transfer files. The 2.5mm microphone/remote release jack carries over from the X-Pro2.

      The battery is stored in the normal place in the base of the grip moulding. It’s the same NP-W126S rechargeable pack as used in the X-Pro2 but has higher capacity (370/440 shots/charge with EVF/OVF compared with 250/350 shots/charge for the X-Pro2). The camera is shipped with the battery uncharged so users should allow roughly five hours for recharging it via the supplied USB-C cable.

      Sensor and Image Processing
      As noted above, the X-Pro3 uses the same backside-illuminated X-Trans sensor and processor as the X-T3, which means its native sensitivity ranges from ISO 160 to 12800, slightly wider than the ISO 200-12800 range on the X-Pro2.

      Continuous shooting has also been improved with the frame rate increased from eight frames/second (fps) to 11 fps. Buffer capacity has also been expanded significantly, from 83 to 145 high-resolution JPEGs, 33 to 42 losslessly-compressed RAF.RAW frames and 27 to 36 uncompressed raw frames.

      With the electronic shutter, the camera can record at up to 30 fps, but with a 1.25x frame crop. In this mode, the buffer memory can store approximately 60 JPEGs, 35 losslessly-compressed raw files or 33 uncompressed raw files.

      ISO Settings
      The X-Pro3 has the same combined shutter speed/ISO dial as the X-Pro2. To change ISO settings you have to lift and rotate the outer ring of the assembly. However, only the native ISO settings are available, which restricts you to a range of ISO 160 to ISO 12800.

      Interestingly, the sensitivity range can be extended down to ISO 80 and 100 and up to ISO 2560 and 51200. But it’s really difficult to access those settings because the camera doesn’t provide a manual ISO setting in its menu. (This is the first ‘serious’ camera we’ve ever encountered that doesn’t so it’s quite remarkable.)

      The only ISO setting in the menu is ISO AUTO SETTING on page 2 of 3 in the Shooting Setting menu (shown above). Clicking on this setting takes you to the three options provided – all of which are Auto settings, as shown below. And, in each case you are restricted to the native 160-12800 range.

      So, naturally, you will resort to the menu to find a way to those ISO extension settings. However, the solution provided is incomplete so try as you might you’ll end up thoroughly frustrated. We asked the technical expert at Fujifilm for advice and after swapping a couple of emails, here’s the way to access manual ISO settings.

      1. First set the ISO dial on the top panel to the C position. Then go to the setup (‘tools’) section of the menu, select BUTTON/DIAL SETTING and scroll down to FUNCTION (Fn) SETTING.

      On page 6 of the 8 provided you’ll find FRONT COMMAND DIAL SWITCH (shown below).

      This lets you assign a setting to the function button (Fn 2) on the front of the camera, located on the OVF/EVF lever. Choose ISO from the five options available.

      Once you’ve gone through this routine, pressing the button on the OVF/EVF lever should allow you to adjust ISO settings with the front command dial. But it doesn’t necessarily work all the time. We found that if the ISO remains stuck on one value or is greyed-out, opening the Quick Menu and closing it again will usually tip the balance back and enable you to adjust ISO settings via the front control dial. This is the only way you can access the full ISO range.

      It really shouldn’t be that difficult to set ISO values manually and goodness knows why Fujifilm thought we would all be happy with only auto ISO settings. Apparently they thought the three programmable options were adequate, which they clearly aren’t. With luck, a rethink might see the necessary firmware update in the near future.

      What’s New?
      A highlight is a new in-camera HDR mode, which is based upon computational photography and is selected via the Drive button. Each time the shutter is released the camera will record three frames then align and stack them, applying a tone curve based upon the level selected in the drive menu.

      Users can choose from five settings, which adjust how much the brightness levels between the exposures will vary. Auto sets the dynamic range between 200% and 800%. There are three settings, HDR200, HDR400 and HDR800 that set the dynamic range to specific percentages and an HDR PLUS setting, which sets the maximum variation in dynamic range. In this mode, frames are cropped slightly and extended ISO values can’t be used.

      If HDR is not your ‘thing’, a separate multiple exposure mode, also in the X-Pro3’s Drive menu, can combine up to nine frames, with four blending options provided: Additive, Average, Bright or Dark.  In the Additive mode the camera adds the exposures; the Average mode averages exposure levels across all images, the Bright mode chooses only the brightest pixel at each location, while the Dark mode chooses the darkest pixel. Colours may be mixed in the last two modes, depending on their brightness and hue.

      The Drive menu is also the location for the ‘Advanced Filter Options’, a collection of pretty standard special effects that can be applied to JPEG files. Interestingly, the Grain Effect and two Colour Chrome Effect settings are separate entries in the Image Quality menu.
      Focus bracketing is also available, again based upon multiple exposures, but found on page 2 in the Shooting Setting menu, rather than in the Drive menu. Users can choose between auto and manual modes, the latter providing a choice of the number of shots, the step distances between shots and the interval between the nearest and most distant focus points.

      The camera also includes a new autofocus range limiter, which provides a focus preset function for all XF lenses, enabling users to focus faster when required. Aside from the updated algorithm, however,  the AF system is the same as the X-T3’s.

      A CLASSIC Neg setting has been added to the Film Simulation modes for photographers who want to emulate Superia 400 film, the traditional choice for snapshots. The X-Pro3 also gains an updated version of the X-T3’s Black & White adjustment function, which is now a separate Monochromatic colour mode (it’s greyed out for the colour Film Simulation settings). Users can select warm or cool tones from a colour matrix, similar to those provided for white balance adjustments.

      A new Clarity setting augments the image quality parameters (highlight tone, shadow tone and sharpness), allowing users to accentuate or soften textures and subject outlines. Highlight and shadow tone adjustments are now integrated into the tonal curve settings. Grain effects are also adjustable in the new camera and a new Colour Chrome Blue effect has been added for improving the depth and gradations in blue tones in a scene.

      Movie recording capabilities fall behind those provided in the X-T3, although they’re significantly better than the X-Pro2 offers. Movie recording must be selected via the Drive button and Drive mode menu. X-Pro3 is restricted to the regular H.264/MPEG-4 AVC codec, whereas the X-T3 provides the H.265/HEVC format, which supports higher data compression with no visible loss of image quality.

      The X-Pro3 doesn’t provide a choice between ALL-Intra (ALL-I) and Long GOP compression settings. But it does include F-Log recording, with sensitivity restricted to between ISO 640 and 12800.

      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 but only with 4:2:0 8-bit recording. However, where the X-T3 supports frame rates up to 60 fps (for NTSC users), the X-Pro3 is stuck with a 30 fps maximum for UHD 4K. Bitrates of 200 Mbps or 100 Mbps apply with both modes.

      Full HD can be recorded without audio at frame rates up to 120 fps for slow-motion playback at ½, ¼ or 1/5 speed, with a maximum recording time of six minutes.

      Focusing options are also limited. Users can choose between Multi and Auto focus point selection and adjust tracking sensitivity across a five step range. Face and eye detection are available and AF speed is also adjustable across +/-5 steps.

      Zebra patterns are available for exposure monitoring but focus peaking can only be used when Focus Peak Highlight is selected in MF Assist mode. A wind filter and filter for removing low-frequency noise are provided and users can set the camera to prevent camera noises from being recorded in movie soundtracks. Time coding is also available. Videographers can elect to use the AF-assist LED on the front panel or the rear panel LED indicator as a tally light to show movies are being recorded.

      With only two physical connectors, the X-Pro3 is reliant on wireless connections for many functions, although the USB-C cable can be used to link the camera with a portable device (smartphone or tablet). Bluetooth allows pairing of the camera with a smartphone or tablet via the Fujifilm Camera Remote app.

      Wireless connections are found via the Connection Setting tab in the Setup menu, which opens a page containing the Bluetooth settings (registration, pairing, on/off, auto image transfer and smartphone sync.). The camera can also be connected to wireless networks via wireless LAN.

      The Connection Settings sub-menu also contains tabs for PC auto save, instax printer connection and various computer connections modes and power supply settings.

      Playback and Software
      Two buttons are used for playback. The Playback button accesses the standard range of functions, including single, nine-frame and 100-frame views, zooming, scrolling, erase, crop, resize, rotate, protect and raw file conversion (to JPEG). Users can also choose which card slot to playback. The Display/Back button toggles between three modes: Standard (with shooting data along the upper and lower edges of the frame), Information off and an Info display with a thumbnail plus shooting data. Pressing the joystick lets you toggle through three Info displays with different formatting.

      As is usual, no software was supplied with the review camera but the product’s support page on Fujifilm’s website provides downloads for a number of proprietary applications, which include Fujifilm Camera Remote for wirelessly connecting the camera to a smart device,  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 and Fujifilm X Acquire for connecting to the camera via USB or Wi-Fi in order to automatically download photos to a specified folder as they are taken.  Third-party applications include Capture One Express Fujifilm and a Fujifilm Tether Shooting plugin for Adobe’s Photoshop Lightroom and Classic CC software.

      Our Imatest testing revealed the review camera to be a competent performer with the Fujinon XF 16-55mm f/2.8 R LM WR lens. The best JPEG test results showed the camera+lens combination could meet expectations for resolution at most focal lengths, with wider aperture settings.

      Performance with RAF.RAW files was significantly better with results exceeding expectations for resolution across a wider range of aperture and focal length settings. The results of our tests across the camera’s ISO range are shown in the graph below.

      Colour reproduction was very good with the Standard (‘Provia’) Film Simulation setting, particularly in JPEG files, where saturation was nicely constrained and the few colour shifts detected were relatively small. Raw files, which were converted into TIFF format using Adobe Camera Raw with minimal additional adjustments, showed slightly different colour shifts and marginally higher overall saturation, both of which were probably influenced by the file conversion software.

      Long exposures were effectively noise-free up to ISO 6400 after which slight traces of softening became detectable. Noise and slight softening (due to noise-reduction processing) were visible at the two ‘extended’ ISO settings but JPEG artefacts only became obvious at ISO 51200. Colours remained constant throughout the sensitivity range.

      White balance performance was similar to the results we obtained from the X-T30, which isn’t surprising since both cameras have essentially the same sensor and processor. The auto setting produced close-to-neutral colours under fluorescent lighting but failed to eliminate the orange cast from incandescent illumination or warm-toned LED lighting. There’s no preset for LED but the tungsten preset came close to removing the warm casts of both incandescent and LED lighting.

      The camera provides ample adjustments to overcome biases, including three Custom settings, Kelvin temperature adjustments and nine steps of manual tweaking on the magenta/green and blue/amber axes. Use of these tools delivered cast-free shots with all types of lighting.

      Video quality was very good for a camera at this level, although not quite up to professional levels of the X-T3. The camera did a good job of rendering image tones and we found few instances of blown-out highlights or blocked-up shadows, even with scenes that had a very wide brightness range.  Colours were also attractively rendered and the stabilisation system worked well for hand-held shooting.

      Autofocusing and auto exposure adjustments were a bit of a mixed bag and footage was frequently interrupted when subjects moved into and out of the main focused zone. Audio quality was decent for the internal microphones and the ability to add external microphones would be useful if better quality was desired.

      Our timing tests were carried out with a pair of 32GB SDHC I U3 memory cards, both of which claim transfer speeds of 300 MB/s. The review camera took just under half a second to power-up and shut down almost instantly, which is similar to the X-T3.

      Capture lag averaged 0.2 seconds when the viewfinder was used but extended to 0.35 seconds when the shot was captured with the monitor screen flipped down. Shot-to-shot times averaged 0.15 seconds. Image processing speeds were similar to the X-T3’s, with both JPEG and RAF.RAW files taking between 1.5 and 1.6 seconds and RAW+JPEG pairs approximately two seconds.

      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.


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      Image sensor: 23.6 x 15.6 mm  X-Trans CMOS 4 sensor with primary colour filter,  26.1 megapixels effective
      Image processor: EXR Processor IV
      A/D processing: 14-bit RAW
      Lens mount: Fujifilm X-mount
      Focal length crop factor: 1.5x
      Image formats: Stills: JPEG (Exif Ver.2.3), RAW (RAF format), RAW+JPEG; Movies: MOV, Compression: MPEG-4 AVC/H.264 Audio: Linear PCM / Stereo sound 2ch / 24bit / 48KHz sampling)
      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 1760; 1:1 aspect: 4160 x 4160, 2944 x 2944, 2080 x 2080; Movies:  DCI 4K and 4K UHD  both at 30/25/24p, up to 15 min. Full HD 2048 x 1080 and  1920 x 1080 at 60p, 50p, 30p, 25p or 24p up to 59 min; High-speed FHD  120/100p at up to 6 min
      Image Stabilisation: Supported with OIS type lenses
      Dust removal: Ultra Sonic vibration
      Shutter (speed range): Focal-plane shutter; Mechanical – 1/8000 to 30 sec., Bulb up to 60 min; Electronic –         up to 1/32000 sec.; flash synch at 1/250 sec. or slower
      Exposure Compensation: +/- 5EV in 1/3EV steps (+/-2EV for movies)
      Exposure bracketing: 2, 3, 5, 7 or 9 frames in 1/3EV steps across +/-3EV
      Other bracketing options: Film Simulation (any 3 types), Dynamic Range, ISO sensitivity, White Balance, Focus
      Multiple exposures: HDR function with multiple exposures of up to 9 frames plus Additive, Average, Comparative Bright or Comparative Dark compositing modes
      Self-timer: 2 or 10 seconds delay
      Interval timer: Yes (Setting: Interval, Number of shots, Starting time)
      Focus system: Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
      Focus modes: Single, continuous, manual focus
      AF frame selection: Single point AF: EVF / LCD: 13 x 9 / 25 x 17 (Changeable size of AF frame), Zone AF: 3 x 3 / 5 x 5 / 7 x 7 from 91 areas on 13 x 9 grid, Wide/Tracking AF: (up to 18 area) AF-S: Wide / AF-C: Tracking, All
      Exposure metering:  TTL 256-zone metering with Multi, Centre-weighted and Spot metering patterns
      Shooting modes: Program AE, Aperture-priority AE, Shutter-priority AE, Manual exposure
      Film Simulation modes: 17 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, Classic Neg) Monochromatic Colour)
      Filter options: Toy camera, Miniature, Pop color, High-key, Low-key, Dynamic tone, Soft focus, Partial color (Red / Orange / Yellow / Green / Blue / Purple)
      Other in-camera adjustments: Clarity (+/-5 steps), HDR (AUTO, 200%, 400%, 800%, PLUS), Grain effect (Roughness: STRONG, WEAK, OFF Size: LARGE, SMALL), Colour Chrome effect (Strong, Weak, Off), Colour Chrome blue (Strong, Weak, Off)
      Dynamic Range settings: Stills: AUTO, 100%, 200%, 400%; ISO restriction (DR100%: No limit, DR200%: ISO320 or more, DR400%: ISO640 or more); Movies: 100%, 200%, 400%; ISO restriction (DR100%: No limit, DR200%: ISO320 or more, DR400%: ISO640 or more)
      Advanced filter modes: Toy camera, Miniature,  Pop colour, High-key, Low-key, Dynamic tone, Soft focus, Partial colour (Red / Orange / Yellow / Green / Blue / Purple)
      In-camera editing: Raw processing with precise grain and clarity controls
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto (3 settings available), ISO 160-12800 in 1/3 Steps; Extension to ISO 80, ISO 100, ISO 125, ISO 25600, ISO 51200  available through manual adjustments
      White balance: Automatic Scene recognition, Fine, Shade, Fluorescent (x3), Incandescent, Underwater, Custom (x3),   Colour temperature selection (2500K~10000K)
      Flash: External flash only (Dedicated TTL Flash compatible)
      Flash modes: TTL modes: Flash Auto, Standard, Slow Sync.; Manual, Multi, OFF SYNC. mode: 1st Curtain, 2nd Curtain, AUTO FP (high-speed sync); red-eye reduction is available
      Sequence shooting: Max. 11 shots/sec. with mechanical shutter, 30 fps with electronic shutter and 1.25x crop 3.0 fps also available
      Buffer capacity: Max. 145 Large/Fine JPEGs, 42 losslessly compressed RAW frames or  36 uncompressed RAW frames
      Storage Media: Single slot for SD, SDHC, SDXC cards (UHS-I/UHS-II compatible)
      Viewfinder: Hybrid optical/EVF; reverse Galilean optical viewfinder with electronic bright frame display; approx.95% coverage of frame area, approx 0.52x magnification; 0.5-in OLED colour EVF with approx 3.69 million dots (4:3), approx. 100% coverage, 16.8 mm eyepoint, -4 to +2 dpt adjustment, 0.66x magnification with 50mm lens,
      LCD monitor: Tilting (180-degree flip) 3-inch 3:2 aspect ratio TFT touchscreen LCD with approx. 1.62 million dots; sub-monitor – 1.28 inch, aspect ratio 1:1, Colour Memory LCD
      Interface terminals: USB Type-C (USB3.1 Gen1), HDMI output, 2.5mm connector for microphone /  remote shutter release
      Wi-Fi function: IEEE 802.11b/g/n, WEP / WPA / WPA2 mixed mode, Infrastructure mode; Bluetooth Ver. 4.2
      Power supply: NP-W126S Rechargeable Li-ion Battery Pack; CIPA rated for approx. 370/440 shots/charge with EVF/OVF
      Dimensions (wxhxd): Approx. 140.5 x 82.8 x 46.1 mm (excluding protrusions)
      Weight: Approx. 447 grams (body only); 497 grams with battery and card

      Distributor: Fujifilm Australia; 1800 226 355



      Based on JPEG files taken with the Fujinon XF 16-55mm f/2.8 R LM WR lens.

      Based on RAF.RAW files recorded at the same time and converted into 16-bit TIFF format with Adobe Camera Raw.



      All shots taken with Fujinon XF 16-55mm f/2.8 R LM WR lens.

      Auto white balance with incandescent lighting.

      Auto white balance with fluorescent lighting.

      Auto white balance with warm-toned LED lighting.

      30-second exposure at ISO 80, 30mm focal length, f/2.8.

      27-second exposure at ISO 160, 30mm focal length, f/2.8.

      10-second exposure at ISO 1600, 30mm focal length, f/5.6.

      5-second exposure at ISO 6400, 30mm focal length, f/8.

      4-second exposure at ISO 12800, 30mm focal length, f/10.

      2.3-second exposure at ISO 25600, 30mm focal length, f/11.

      1.2-second exposure at ISO 51200, 30mm focal length, f/11.

      16mm focal length, ISO 160, 1/200 second at f/9.

      55mm focal length, ISO 160, 1/100 second at f/9.

      55mm focal length, ISO 160, 1/850 second at f/2.8.

      55mm focal length, ISO 160, 1/80 second at f/11.

      Strong backlighting,
      16mm focal length, ISO 640, 1/850 second at f/8.

      55mm focal length, ISO 4000, 1/58 second at f/10.

      50mm focal length, ISO 4000, 1/200 second at f/5.6.

      50mm focal length, ISO 25600, 1/1600 second at f/5.6.

      38mm focal length, ISO 12800, 1/8000 second at f/5.

      52mm focal length, ISO 25600, 1/6000 second at f/4.

      16mm focal length, ISO 8000, 1/100 second at f/9.

      38mm focal length, ISO 640, 1/80 second at f/4.5.

      55mm focal length, ISO 640, 1/1000 second at f/4.5.

      16mm focal length, ISO 200, 1/110 second at f/7.1.

      52mm focal length, ISO 200, 1/120 second at f/5.

      55mm focal length, ISO 200, 1/160 second at f/9.

      DRO 400%; 55mm focal length, ISO 400, 1/2000 second at f/6.4.

      Still frame from 4K 17:9 video clip (4096 x 2160 pixels) recorded at 25p, 200Mbps.

      Still frame from 4K 16:9 video clip (3840 x 2160 pixels) recorded at 25p, 100Mbps.

      Still frame from Full HD 17:9 video clip (2048 x 1080 pixels) recorded at 50p, 200Mbps.

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

      Still frame from Full HD 17:9 video clip (2048 x 1080 pixels) recorded at 25p, 100Mbps.

      Still frame from Full HD (1920 x 1080 pixels) video clip recorded at 25p/100Mbps.

      366: Still frame from Full HD (1920 x 1080 pixels) video clip recorded in High-Speed mode at 100fps.

      Additional image samples can be found with our review of the XF 16-55mm f/2.8 R LM WR lens.



      RRP: AU$2699; US$1799 (black finish); AU$2999 or US$1999 (DR finish) body only

      • Build: 9.0
      • Ease of use: 7.5
      • Autofocusing: 8.3
      • Still image quality JPEG: 9.0
      • Still image quality RAW: 9.0
      • Video quality: 8.9