REVIEW : Fujifilm X-T2 - This May Be the Mirrorless You Need/Want
/
The superb Fujifilm X-T2
The good people at Fujifilm Canada have made an X-T2 available to me for review. It came with the little flash in the box and two lenses, the Fujinon 10-24/4 and the Fujinon 55-200/3.5-4.8
The unboxing is very nice. Fujifilm follows the Apple trend of making the unboxing an experience with very nice packaging of high quality. It's so different from other providers that give you corrugated cardboard and a plastic bag. It's a little thing, but the subtle message is that a) we believe that this is a very high end product and b) by purchasing our product, you are a classy individual. Whether you like this sort of thing or not, it is absolutely effective and a relatively low cost investment for the message that it sends.
First Roll
The X-T2 that I received is the Graphite version. That's basically a dark grey with a partially shiny surface. It looks quite elegant, but I found the black text on graphite, challenging to read unless in bright light. My prior experience with the X-Pro2 in black with white lettering delivered a much higher usability. Finishes are often perceived as cosmetic only. I don't agree. Were I purchasing an X-T2 for myself, with my eyesight, I would definitely order the camera in black with white lettering.
Once I get past the reading challenges, the fit and finish are excellent. Fujifilm understands control deck layouts for photographers. There are three large dials. ISO is on the left top, shutter speed is on the right side near the faux pentaprism and exposure compensation is on the far right edge. Both the ISO and Shutter Speed dials have very high tactile response clickstops and lock buttons to prevent inadvertent changes. The exposure compensation dial, is perfectly positioned, in my opinion offering a +- 3 stop range in 1/3 stop increments. Another reviewer did not like that the dial has no lock. I take the position that I am glad it has no lock as I use this tool all the time and I can see in the viewfinder when it is active and never need to take the camera away from my eye to use the compensation. If only all cameras had such a large and capable exposure compensation dial instead of forcing me to use some button press and rear wheel or worse, force me to dive into a menu.
The EVF is the best that I have ever used. It is bright, sharp and it is actually possible to validate focus post shot without moving the camera from your eye. Holy efficiency Batman! I nearly never shoot in Live View mode, except when it would make life easier on my back and knees, and the EVF is so darn good, I wouldn't miss Live View if it was not there at all. Unlike most of the EVFs that I have looked through, the X-T2 EVF is stunningly accurate for colour with no shift and no artificial boosted saturation to burn out my retina. You can of course set the camera for eye detection to switch between the EVF and LiveView. The EVF is so good, I set the switch to EVF only and used the LCD for playback and information display. I cannot say that I have ever done this before.
The day of the first roll was about as grungy as possible, complete with icy rain from time to time. The X-T2 is weather resistant and held up fine over a couple of hours in the cold. In two hours of runtime, with over 100 images shot, along with a few minutes of video and plenty of menu pokery, I was still at over 40% battery remaining. Pretty decent performance in my book.
I copied the RAW files to my NAS and then imported them to the current release of Lightroom. Something felt off. Fujifilm uses in camera lens profiles, so I went back and disabled the auto application of profile corrections in Lightroom. Hmm, still not right. The previews took a while to render and they all looked a bit soft. I was not nuts about the rendering in LR for the X-Pro2 but this was really unpleasant. It took far more work than I would have hoped to get decent looking stuff, and for the four finals from the roll, there was a fair bit of Photoshop involved. The next day, I looked at a couple that I was certain had been tack sharp in the EVF, and they were definitely soft. Was this a camera AF issue? I decided to take another route and imported all the originals into Capture One Pro 10. Capture One uses a completely different RAW conversion engine and I was very pleased to see substantially better images right out of camera in Capture One. I will explore this more in the deep part of the review, but right up front, I will suggest that Adobe has not gotten the converter for the X-T2's X-Trans sensor correct yet. I did try RAWtherapee because it advertises an X-Trans specific engine, but I found the UI so confusing that I packed it in after about ten minutes. For the remainder of the evaluation, I will be using Capture One for all the image processing.
Roll #1 Samples
These are taken from both rolls. The available light would have had to to improve significantly to achieve the level of suck. Most images shot in RAW and processed in Capture One Pro 10 because Lightroom did such a poor job on the RAW conversion. The canal is an HDR processed in Lightroom. The final two are artistically (I hope) treated for a different look.
In this very short clip, I was walking back to the truck and decided to record a bit of 4K to the internal card while walking along. I dropped the volume of the in camera microphone recording because it's just footsteps and breathing, not exciting at all. Considering I was walking along at a normal pace, there is a fair bit of motion in the clip but what is impressive is that it is not terribly jerky.
Camera Core Info
The X-T2 is the latest in Fujifilm's high end mirrorless family. I mean high end not specifically in price but in positioning as well. This is a prosumer class body. It is equipped with the Fujifilm X-Trans III sensor, delivering 24MP 14 bit RAW images. As with all Fujifilm cameras, JPEGs are also capable of being delivered in camera, and are done so using Fujifilm's superb film emulations. There are no "scene" modes, further indication of the target audience. Images are stored on SD style cards, with the camera spec'd to support up to 256GB cards.
Nice clean and classy looking. Also note that there is no vignetting of the sensor by the lens mount. Others cannot say this.
The X-T2 accepts all Fujifilm X mount lenses. In Fujifilm Fujinon lenses, whether there is image stabilization or not is defined in the lens. Most Fujinon X mount lenses have actual aperture rings, sometimes labeled, sometimes continuous, but there are the rare ones that use a body control for the aperture setting.
ISO range runs from ISO 200 to ISO 12800 and a Hi setting of ISO 51200. There is an L setting as well of ISO 100. It's important to remember that these are digitally delivered and non-native ISOs so they will not deliver optimum quality, but will get the shot when nothing else will do.
Shutter speed range is from 1/8000 to 30 seconds on the mechanical shutter. There is an electronic shutter that will go as high as 1/32000 but the E shutter may not work well on very high speed subjects. Flash synchronization is 1/250 or slower. The shutter is of a focal plane design.
The top deck. Simple, clean and elegant. You cannot see the drive wheel under the ISO or the metering wheel under the shutter speeds. On my graphite model, they were very hard to read, but leap out on the black version
The 256 zone TTL metering system offers the user a variety of modes, including multipoint, centre weighted, average and spot metering. The camera offers Program, Shutter Preferred, Aperture Preferred and Manual modes of operation. Exposure compensation is available ± 5 stops in 1/3 stops increments, and ±2 stops in movie mode.
The drive selections include single shot, low speed continuous at 5fps, high speed continuous at 8fps, self timer and bracketing. The high speed can be increased to 11fps by adding the X-T2 vertical battery grip and to 14fps by employing only the electronic shutter. I did not try shooting the X-T2 for sports, but did use it to photograph my dog while he was running full out and I was quite impressed by the efficiency and lack of viewfinder blackout.
Bracketing is configurable for exposure, white balance, film emulation, ISO and Dynamic Range, selectable one at a time. In my tests, I was able to obtain a maximum of 3 shots in the bracketing settings with a span of 2 full stops between shots. Some may prefer the option for more images in a bracket sequence. I felt this way initially but after doing three shots at two stop increments, the dynamic range of the sensor really comes through and HDR work comes out looking lovely using Photoshop's 32 bit HDR capability.
Autofocus is selectable via a front plate switch. You can choose between single shot, continuous and manual focus. The Fujinon lenses are such a joy that manual focus feels natural and has no lash at all. There is a wide mode option in single shot. There is also an option via function key to select a tracking focus mode in continuous. My first tests with it failed miserably, so I need to spend more time on it. You can configure the grid size and number of points for AF-S and AF-C. This was not entirely obvious and my initial efforts produced very large spot focus areas, that did not lock down very well. The AF is very fast and quite decent in low light, but suffers in lower contrast and has a tendency to hunt when the light level drops. It's no worse than other systems, but does not match the speed of higher end Canon or Nikon AF systems.
The White Balance controls are widely inclusive, offering the usual suspects but three different fluorescent options as well as a specific underwater mode. The camera is not waterproof, so I expect that this means the Fujifilm is aware of demands to use the unit in an underwater housing. Shooting RAW, the WB setting is for the JPEG preview only, but because the JPEGs are so superb, I appreciate the wide list of predefined options.
There is a built in intervalometer, that is quite easy to set up. It's not overly sophisticated but it gets the job done well.
The device comes with a tiny shoe mount flash with a GN of 7. It mounts to the shoe and then tilts up to get the tiny tube a bit of distance away from the body. It's ok for minor fill, but for serious flash work, you will want the flash off camera. Fujifilm has a larger hot shoe flash in the EF-X500 that can be remotely controlled via infrared from the tiny slip on flash wirelessly. Flash exposure can be TTL or Manual, and there is even a PC port on the front panel to use older style strobes with. This port is typically covered, by an easily lost cap. My unit didn't even have the cap, which reinforces that the cap will vanish on you. This will impact the weather sealing, so if you do not have to remove it, don't. I have not had any opportunity to test multiple Fujifilm flash units so can offer no insight other than that the TTL flash exposures look good and are consistent from shot to shot.
The electronic viewfinder on the X-T2 is far and away the best EVF that I have ever used. I have liked the Olympus variants and while the hybrid EVF on the X-Pro2 is probably my favourite for usability, this pure EVF is just brilliant. I can see the image well, even in poor light and the high pixel density means that it can be used to check focus and chimp your shots without taking your eye away from the camera. It's so far beyond the competition, that I sense that this is going to be a huge competitive advantage for Fujifilm. It has 2.36M dots in its OLED display. Unlike some other OLED EVFs, I did not find myself with any eyestrain or headaches after use. The diopter adjustment ring is on the left side of the fake pentaprism and is quite good, although I would like a tiny bit more fine grained control in it.
Nice bright LCD, clean and simple control layout. Now just move the AF-L button 3mm to the left and it would be perfect. While I don't care about selfies, other than I'd be ok if that malignant narcissism went the way of the dodo, I would like it if the screen could flip out to the left to be seen from the front. It would make the camera easier to use for one up travel bloggers.
The rear LCD is a 3" tilting design that can also work in portrait mode. It locks into the normal position, and while it is a bit of an erector set / meccano style system, it does the job well and the LCD does not flop around. There is, thankfully for all humanity, no idiot selfie mode. That means that Vloggers will need a separate display to see themselves while they shoot their magnum opus, but I do not see this as a negative. In relatively short order, I found myself configuring the LCD as an information only screen. I used the EVF for shooting and for playback, it's just so much better. I only used the LCD to place the camera for some studio video shots.
The X-T2 shoots 4K video at up to 29.97fps pushing 100mb/s for up to about 10 minutes. The X-T2 is not designed to be a continuously running cine camera. You will need high speed storage cards to support the 4K push. I am aware that some reviews are bashing the X-T2 for the limits on its 4K. I would say that Fujifilm 4K kicks the 4K from Canon's 1DX Mark II right to the curb all day long. The X-T2 is a photographer's camera that shoots video, not a videographer's camera that shoots stills. Thus, while I will use a dedicated video camera for large projects, the X-T2 is so usable that I could be convinced to back off my feeling that video in a still camera is wasted on most users. Shooting video with the X-T2 is blind simple. The autofocus is fast and precise and the 4K to the card is really very good.
I mentioned the film emulation options. There are 15 of them to choose from. There are also a number of in camera "looks" that you can impose including spot colour, soft focus, toy camera and similar options. I have no use cases requiring these so did not bother to look at them.
The X-T2 has built in WiFi and connects relatively easily to your smartphone via the downloadable Camera app. It disconnects when you change function modes such as from remote control to playback and while it works fine in the field, the constant disconnecting is annoying if you are in an environment where there are multiple WiFi networks and others have higher connectivity priorities on your phone. Usable, and better than most remote control apps, but I would personally prefer a proper cable release. I have no use cases requiring me to upload images to anywhere straight out of camera.
Connectivity is via USB 3.0 and video output is via Micro HDMI. Both are excellent choices. Fujifilm does have a tethered app for Windows (no Mac support), although you can purchase a tethering app from Adobe Exchange to be used with a Mac. Yeah, I won't be paying extra for tethering to my preferred platform. I encourage Fujifilm just to license the Mac tethering and be done with it. If you must drag images directly off a card, USB3 is the way to do it, because a RAW image averages just over 50MB in size. I like taking the HDMI cable with me in the bag when travelling so I can review images on hotel room TVs without having to download and import and blah blah blah just to do a quick success scan. The USB cable is included, the HDMI cable is not.
Ending the core section is the power. The camera is rated at about 340 frames on a full charge of the single battery. More shooting is available by adding the vertical battery grip. That's better than most mirrorless cameras in the market.
Real World Shooting - Roll #2 and Onward
As I did with the X-Pro2, I found a use again for my Peak Design Everyday Messenger bag. I am convinced it was designed for mirrorless cameras because that's about the only place that I find it useful. I also managed to borrow the Fujinon XF 18-135 f/3.5-5.6 OIS LM WR lens. I have to confess, I cannot make hide nor hair of the Fujinon naming conventions. This lens is grouped with the other two I have at this point. They all have clickable but unnumbered aperture rings. In the past I have shot the Red Badge zooms, and the 24/1.4, 35/1.4 and 56/1.2 primes. Guess what? The more expensive primes and zooms deliver nicer images, but you have to be really pixel peeping to see them. I have never even seen the consumer XC series so have no comment on them at all. The incredible American landscape / story photographer Bill Fortney has done a series with this lens, and, well it's Bill, so the images are gorgeous.
I have a fair amount of overlap in my now three lens kit. Roll #1 was shot solely with the 10-24 and the 55-200. I was sure I had sharpness in the viewfinder in most cases, but the imports looked soft. At first, I thought it was me doing something wrong, then I checked my notes and found that the soft ones had looked great in the EVF. That's when I found the challenge with Lightroom. It's irksome because this is the same sensor as in the X-Pro2 and I didn't have this issue, but there have been LR changes since last fall. Using Capture One instead delivered a far superior, sharper and better image consistently across roll #1. Disappointing as I worry that Lightroom's poor handling of X-Trans III images may cause people who wouldn't consider the software to be an issue, might be inclined to blame the camera, when clearly the issue is in Adobe's hands.
I have made a note to myself to always request a proper flash for evaluations. I do this with Nikon, and because so much of my work is strobified, I feel I am doing readers a disservice. The X-T2 flash capability reads very well, with support for slow sync, first and second curtain sync and multi flash support. Sadly, because of my own error, I cannot tell you how the camera fairs, except with the little flip up unit. Like all flip up units, it has very low power, is very close to the lens axis and when used as the primary source is unflattering and unpleasant. No surprises there.
I also pushed myself to use the tracking autofocus. It's not that I think that the X-T2 will replace the 1Dx Mark II for sports, but I was hopeful for pets and even children at play. I have no good news on this. I got much better images in regular AF-C with a single point after converting the camera to back button focus only. I'm not crazy aboutthe placement of the back button focus button. It is too far to the right to suit my hands in comfort and does not offer as much tactile feedback as I might like. I can train my thumb to go there, but the bone then rides on the minor ridge on the back grip. This is probably just me griping, but I only use back button focus and it's the way that I work. Interestingly, the layout on the X-T20 is the same, but the feel was more comfortable. Go figure. The tracking focus just didn't track quick enough even for a running wolfdog, and was hunting too much. What I do like in AF-C is the very Canon like AF settings options, what Canon calls Cases. They work quite well and once I starting using them more aggressively, my AF-C success went up considerably.
As I noted on Roll #1, I had some issues making the dot small enough for single point AF. Consequently, the dot ending up being larger than the subject in many cases and that made for some frustration in focus hunting. Again, this is my personal use case, I do not like having any camera make decisions for me about what should be in focus. A little RTFM before roll #2 helped address this. The APS-C sensor produces a bit more depth of field at any given aperture and distance, than a full frame. I caught myself a few times because my eye locked onto the razor sharp image in the EVF and I neglected to do DoF checks on occasions when I really should have been. Have I mentioned how singularly impressive the EVF is?
One of the common complaints for DSLR shooters coming to mirrorless is viewfinder blackout. The X-T2 is incredibly improved over the X-T1. There is blackout, but it is so short that in most situations, you don't notice it at all. In burst mode, with the wolfdog running straight at me, I did not find it worse than any DSLR at a similar burst rate. That's a huge win for Fujifilm. I also like that the display is configurable and that when you flip to portrait orientation, the information displays flip with you. In manual focus you get this cool dual display in the EVF showing both the full scene and a zoomed in point for focus lock in. As a videographer, I use focus peaking a lot as a convenience tool and it's availability in manual focus is both effective and powerful.
Pushing the Video Button
I liked the ease of use for video I experienced with roll #1 so I wanted to do some deeper tests in the studio. I've included a link to a supplemental video on this article where I do a number of recording tests in studio. Lighting was provided by a KinoFlo Tegra and a KinoFlo DIVA. The camera was mounted on a RRS tripod and I was using the Atomos Shogun as both the external display, and where noted, as the external recorder.
My first clip is recording 4K to the card in the camera and using the built in microphone for audio. The video is very nice, even if it is MP4 format. This keeps the file sizes down and MP4 is a pretty decent compression model. The audio is about what you would expect, passable but hardly professional. For the second clip, I used a RODE VideoMic Stereo Pro plugged into the microphone port. The video was the same setup but by disabling the internal mics for the RODE microphone, audio quality went up substantially. The RODE is quite compact but sounds very good, significantly better than the internal microphones. It's completely usable audio.
My next clip used the same audio, but I switched the camera to send the full 4K over HDMI including control sequences to my Atomos Shogun. The Shogun was configured for ProRes 422. The files are substantially larger, but the quality is substantially higher on the editing desk as you should expect. Even compressed and published to YouTube, I think that you can see the difference.
My final supplementary clip is the same as the third, but I have set the camera to send the signal in F-Log Gamma. Log format is a very flat looking file, with flat colour and minimal contrast. The purpose of shooting in Log, is so the colourist can finely tune the look and feel of the final produced shot. I shoot in C-Log on my Canon C300 and while it makes for more work in post-production, the flexibility is amazing. I was very impressed to see a stills camera in this price point being able to push Log format. I played around using manual colourizing techniques and then tried using the free F-Log Gamma LUTs (lookup tables) that Fujifilm provides free for download on the support page. They are both excellent, although in this particular clip I chose to go with the Flog to WDR cube for correction.
I use the Atomos Shogun predominantly but you could also do this with another high quality external recorder such as the Odyssey 7Q+. Being able to eliminate the challenges that come with internally recording high rate 4K, and having the Log output option, the usability of the X-T2 for more serious video goes up substantially.
I always download the PDF version of the manual and store it in iBooks so it is available on my phone, my tablet and my computers. I like having the manual handy and being able to search the electronic document. I found that the chapter on movie recording and playback was extremely sparse, basically full auto only. To go more deeply, you have to dive into the Movie section of the menus chapter. This is very "what this does" oriented, and doesn't really offer much in the way of guidance. One thing it did clarify is that when you select output to HDMI, while the camera is pushing content live, the manual says to start the "recording" process on the camera, not on the external recorder. This changes to push the full 4K stream out the HDMI port rather than a lower grade FullHD sequence. There is also an option to select to send control information over the HDMI link. This was very convenient in that pressing the shutter button both started and stopped the camera and the external recorder simultaneously. I was very impressed by the video of the X-T2. Fujifilm might choose to strengthen this section of the documentation. Much lesser and less capable products spend far more manual space on video.
Other Thoughts
While I take good care of evaluation gear, I was very pleased by the strong feel of the magnesium shell body. Bad stuff happens, and the more you shoot, the higher the probability that you will meet Mr. Murphy at the wrong time. I like that the X-T2 is built tough and I do not find it heavy or cumbersome in any way.
I had not yet mentioned the card slots. I have no illusions that the Fujifilm engineers have read or listened to any of my card slot rants. I still credit them for delivering two card slots and making them both identical. How convenient! How handy! How user friendly! How not stupid! Other manufacturers should pay attention.
I cannot offer input on the vertical battery grip. I didn't request one. I like the idea of more battery power on tap, and I like that the grip does more than just deliver more battery life, it also gives the camera a performance boost.
Conclusions
There are folks starting to call me a Fujifilm fanboy. Okay. I have been very impressed by the cameras that I have had time to review, specifically the X-Pro2 and the X-T2. I have respected Fujinon glass since the early eighties and I have very much enjoyed every lens that I have tested. I have not tested the entry level lenses and have no opinion one way or the other, but I am definitely biased to those that have a real aperture ring, even over those that have a ring that controls aperture but is not a true aperture ring. It just feels natural. The camera, despite it's small size, fits my hand well and once I got past the enthusiasm of shooting and followed my normal process, I stopped making images with camera shake and too little depth of field.
The camera and lenses are tough enough, and the viewfinder blackout tells me that I could use the camera for most of the things that I shoot except perhaps for high speed sports, but it is so much better than earlier versions that I am becoming swayed. I find the layout of controls comfortable and easy to use, and the menus are well laid out and quick to learn. The APS-C sized sensor doesn't have a big noise tradeoff, and the X-Trans III sensor kicks butt. The only downside is that even after a dot upgrade, I still think that Lightroom's X-Trans III converter is horrible. I found the free Silkypix converter to be a bit of a kludge, but absolutely loved the image quality that comes out of RAWs processed in Capture One. I already knew about the quality of the Fujifilm JPEGs and didn't shoot many on the X-T2, because I just don't shoot in JPEG.
Would I buy an X-T2? I very much could. I've been looking for something smaller than my full-sized DSLR that still has autofocus and that works in crappy light. I'm personally leaning towards an X-Pro 2 because I love the rangefinder feel of it. I have tried mirrorless cameras from other vendors, and I either found the low light noise still needing some work, or that the physical layout of the camera bodies was uncomfortable or that I didn't like the performance of the lenses. I have no such qualms with the X-T2. The camera works brilliantly, the lenses are wonderful, and I can be working quickly and without headache with a very light kit, that can go in a bellows pocket in my jacket. Highly recommended.
Full Specifications (courtesy Fujifilm Canada)
Model Name
FUJIFILM X-T2
Number of effective pixels
24.3 millions pixels
Image sensor
23.6mm x 15.6mm(APS-C)X-Trans CMOS III with primary color filter.
Sensor Cleaning system
Ultra Sonic Vibration
Storage media
SD Card (2GB) / SDHC Card (32GB) / SDXC Card (256GB) UHS-I / UHS-II*1
File format
Still image
JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW(RAF original format), RAW+JPEG
Movie
Movie File Format: .MOV
Movie Video Compression: MPEG-4 AVC / H.264
Audio: Linear PCM/ Stereo sound 48KHz sampling
Number of recorded pixels
L: (3:2) 6000 x 4000 / (16:9) 6000 x 3376 / (1:1) 4000 x 4000
M: (3:2) 4240 x 2832 / (16:9) 4240 x 2384 / (1:1) 2832 x 2832
S: (3:2) 3008 x 2000 / (16:9) 3008 x 1688 / (1:1) 2000 x 2000
Lens mount
FUJIFILM X mount
Sensitivity
Standard Output Sensitivity : AUTO1 / AUTO2 / AUTO3(up to ISO12800) / ISO200 to 12800(1/3 step)
Extended output sensitivity : ISO100 / 25600 / 51200
Exposure control
TTL 256-zone metering, Multi / Spot / Average / Center Weighted
Exposure mode
P(Program AE) / A(Aperture Priority AE) / S(Shutter Speed Priority AE) / M(Manual Exposure)
Exposure compensation
-5.0EV - +5.0EV, 1/3EV step
(movie recording : -2.0EV - +2.0EV)
Image Stabilizer
Supported with OIS type lenses
Shutter type
Focal Plane Shutter
Shutter speed
Mechanical Shutter
4 sec. to 1/8000 sec.(P mode), 30 sec. to 1/8000 sec.(All modes)
Bulb mode(up to 60 min), TIME : 30 sec. to 1/8000 sec.
Electronic Shutter*3
30 sec. to 1/32000 sec.(P / A / S / M modes)
Bulb mode : 1 sec. fixed, TIME : 30 sec to 1/32000sec.
Mechanical + Electronic Shutter
4 sec. to 1/32000 sec.(P mode), 30 sec. to 1/32000 sec.(All modes)
Bulb mode(up to 60 min), TIME : 30 sec. to 1/32000 sec.
Synchronized shutter speed for flash
1/250 sec. or slower
Continuous shooting
Approx. 14.0 fps [Only Electronic Shutter](JPEG: 42 frames, Lossless compression RAW: 28 frames, Uncompressed RAW: 25 frames)
Approx. 11.0fps [with VPB-XT2](JPEG: 73 frames, Lossless compression RAW: 30 frames, Uncompressed RAW: 27 frames)
Approx. 8.0fps (JPEG: 83 frames, Lossless compression RAW: 33 frames, Uncompressed RAW: 27 frames)
Approx. 5.0fps (JPEG: endless, Lossless Compression RAW: 39 frames, Uncompressed RAW: 30 frames)
- * recordable frames depends on recording media
- * Speed of continuous shooting depends on shooting environment and shooting frames
Auto bracketing
AE Bracketing(±2EV / ±5/3EV / ±4/3EV / ±1EV / ±2/3EV / ±1/3EV)
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)
Focus
Mode
Single AF / Continuous AF / MF
Type
Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
AF frame selection
Single point AF: EVF / LCD: 13x7 / 25x13 (Changeable size of AF frame among 5 types),
Zone AF: 3x3 / 5x5 / 7x7 from 91 areas on 13x7 grid,
Wide/Tracking AF: (up to 18 area)
- * AF-S : Wide
- * AF-C : Tracking
White balance
Automatic Scene recognition / Custom1~3 / Color temperature selection (2500K~10000K) /
Preset: Fine,Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White),Incandescent light, Underwater
Self-timer
10sec. / 2sec.
Interval timer shooting
Yes (Setting : Interval, Number of shots, Starting time)
Flash modes
SYNC. MODE
1ST CURTAIN / 2ND CURTAIN / AUTO FP(HSS)
FLASH MODE
TTL (FLASH AUTO / STANDARD / SLOW SYNC.) / MANUAL / COMMANDER / OFF (When EF-X8 is set)
Hot shoe
Yes (Dedicated TTL Flash compatible)
Viewfinder
0.5 inch approx. 2.36 millions dots OLED Color Viewfinder Coverage of viewing area vs. capturing area: approx. 100%
Eyepoint: approx. 23mm (from the rear end of the camera's eyepiece) Diopter adjustment: -4~+2m-1
Magnification: 0.77x with 50mm lens (35mm equivalent) at infinity and diopter set to -1.0m-1
Diagonal angle of view: approx. 38° (Horizontal angle of view: approx. 31° )
Built-in eye sensor
LCD monitor
3.0 inch, aspect ratio 3:2, approx. 1040k dots
Movie recording
[4K (3840x2160)] 29.97p / 25p / 24p / 23.98p 100Mbps up to approx. 10min.
[Full HD (1920x1080)] 59.94p / 50p / 29.97p / 25p / 24p / 23.98p 100Mbps up to approx. 15 min.
[HD (1280x720)] 59.94p / 50p / 29.97p / 25p / 24p 50Mbps up to approx. 30min.
- * For recording movies, use a card with UHS Speed Class 3 or higher.
Film Simulation mode
15 modes (PROVIA/Standard, Velvia/Vivid, ASTIA/Soft, CLASSIC CHROME, PRO Neg.Hi, PRO Neg.Std, Black & White, Black & White+Ye Filter, Black & White+R Filter, Black & White+G Filter, Sepia, ACROS,ACROS+Ye Filter, ACROS+R Filter, ACROS+G Filter)
Dynamic range setting
AUTO, 100%, 200%, 400%
ISO restriction (DR100%: No limit, DR200%: ISO400 or more, DR400%: ISO800 or more)
Advanced filter
Toy camera, Miniature, Pop color, High-key, Low-key, Dynamic tone, Soft focus,Partial color (Red / Orange / Yellow / Green / Blue / Purple)
Wireless transmitter
Standard
IEEE 802.11b / g / n (standard wireless protocol)
Encryption
WEP / WPA / WPA2 mixed mode
Access mode
Infrastructure
Wireless function
Geotagging, Wireless communication (Image transfer), View & Obtain Images, Remote camera shooting,PC Autosave, instax printer print
Other functions
PANORAMA, AF-C CUSTOM SETTINGS, 4K MOVIE OUTPUT, SHUTTER AE, SHUTTER AF, AF-ON,Exif Print, PRINT Image Matching II, Language (35 languages including JP/EN), Time difference,Exposure preview on LCD during Manual mode, EVF brightness, EVF color, LCD brightness, LCD color,Mode effect on monitor, Customize
Terminal
Digital interface
USB3.0 (High-Speed) / micro USB terminal
HDMI output
HDMI micro connector (Type D)
Others
ø3.5mm, stereo mini connector (Microphone) / ø2.5mm, Remote Release Connector
Hot shoe, Syncronized terninal *Mechanical release : shutter button
- * connectable with Remote Release RR-90 (sold separately)
Power supply
NP-W126S Li-ion battery (included)
Dimensions
132.5mm (W) x 91.8mm (H) x 49.2mm (D) (minimum depth 35.4mm)
Weight
Approx 507g(including battery and memory card)
Approx 457g(excluding battery and memory card)
Operating Temperature
-10°C - 40°C
Operating Humidity
10 - 80% (no condensation)
Battery life for still images*4
Approx. 340 frames (NORMAL MODE), Approx. 1,000 frames (with VPB-XT2) When XF35mmF1.4 R is set.
Starting up period
Approx 0.3sec.
- * Fujifilm research
Accessories included
Li-ion battery NP-W126S
Battery charger BC-W126
Shoe-mount flash unit EF-X8
Shoulder strap
Body cap
Strap clip
Protective cover
Clip attaching tool
Hot shoe cover
Vertical Power Booster Grip connector cover
Sync terminal cover
Owner's manual
Warranty+D66
