Straight up, I need to thank the PR team at Fujifilm Canada for helping me get my hands-on an X-Pro 2 for this review. While the camera was announced a while back, they have been scarce for the media and the nice people at Fujifilm never forgot about me. They sent me an X-Pro 2 body and 23/1.4R lens for this review.
Getting Started and Shooting the Camera
I hadn't used an interchangeable lens Fujifilm product since my afternoon with an X-T1. I've tested the X100T and the X70 and liked them both. The use cases are different as those cameras are fixed lens devices. The X-T1 was really nice, and very DSLR-ish. I tried the original X Pro 1 when it was first released and liked it, except for the autofocus performance. I am not alone in that assessment, so let me get right to the point about the AF on the X-Pro 2. It's very fast and there is no waiting for it to focus. Some people actually expected the autofocus to be slow. If there were only one thing to motivate an X-Pro 1 owner to upgrade, the new AF is it, I would say run, do not walk, to your favourite camera store and order up an X-Pro 2.
The layout of the X-Pro 2, for those who have not seen one, is very rangefinder-like. There is a proper viewfinder that works in optical mode, hybrid optical and EVF mode. Switching is via the lever on the front that looks like an old fashioned mechanical self timer. While I have not been a lover of EVFs, the X-Pro 2 EVF is quite accurate with none of the image "enhancement" that so irks me in some other cameras with an EVF. The only time it looks electronic is when it kicks into playback to show you the shot you just took, which is a JPEG rendition with a Fujifilm film preset applied. I would actually turn this off if I knew how. It's not that it doesn't look nice, it is just really distracting as I always shoot in RAW for production work and I find the JPEG playback to be distracting.
Much has been said about what an outstanding job Fujifilm has done in their film simulation software to make the images look like old Fujifilm film stock. All the write-ups say it's great. Fortunately Fujifilm lets me shoot in RAW, although the LCD shows the JPEG version of the image and always with some film preset applied. If it were up to me, I would offer an option for no preset on the JPEG preview, but that's not available here. Since my use cases will not be the same as everyone else's, I did shoot a sequence of the same scene in each of the different film preset settings as JPEGs. I also shot a RAW frame for personal comparison. If you are looking for a camera that does a truly outstanding JPEG in camera, where those JPEGs are less scene modes and more film modes, you will find it very hard to beat the image quality coming out of the X-Pro 2. Since the majority of photographers these days only post images on the web, to a tablet or to their smartphone, JPEG quality may be all that they ever need..
Fujifilm Film Presets
(JPEGs out of camera - no post processing)
One of the reasons Fujifilm clients like the JPEGs so much is that until recently many RAW converters did a really horrible job handling the RAW files created by Fujifilm's X-Trans and newer X-Trans CMOS III sensor. My general use tool, Adobe Lightroom, has historically been really lousy. I don't know why this is, it is simply so. Recent changes in Lightroom CC do a much better job with Fujifilm RAW files and the Camera Profiles now look pretty close to the in camera JPEGs from the X-Pro 2. I did discover, to my chagrin, that Capture One cannot handle the lossless compressed RAW format that Fujifilm uses. Disappointing because I had spent two days in the field and wanted to see what Capture One could do with the images. For my next working images, I switched to the Uncompressed RAW format and Capture One did a nice job with the RAW conversions. Is it better or worse than Lightroom? Truth to be told, I did not see an enormous difference in the basic RAW conversion, however the tools work differently and afford the creative person different approaches. I'm just glad that both products are doing a better job with Fujifilm's RAF RAW format. Of my three primary RAW converters, only DXO Optics Elite still shows no options for this format on this camera.
I certainly understand and respect the business decisions made by Fujifilm with respect to the JPEG processing and the closed nature of their RAW format but I personally wish that they would allow the user to opt out of fixed JPEGs and consider making their RAW format open so third parties, presuming that they have not already done so. Then companies such as Adobe, Phase One and DXO Optics could maximize the RAW conversions from the excellent X-Trans CMOS III sensor.
When I first starting playing around with the camera, and before I had read the manual all the way through, I felt a juddering in the body and lens combination whenever the camera was on, and the shutter button not partially depressed. As soon as the AF was engaged, the juddering stopped. If I shot in Manual focus, there was no juddering ever. Being concerned that something had happened, I contacted Fujifilm Canada and their technical specialist advised that this was normal and I was feeling the movement of the focus motors. I thought that this was odd, since the auto-focus had not even been engaged. I went to a local camera store, and was allowed to try every R series prime they had on display. Every single lens when mounted produced this vibration. I also arranged to borrow a 16-55 and 50-140 from another source and they produced no vibration at all. I don't sleep well and woke up in the middle of the night a few days into the evaluation period wondering if the menu option of PRE-AF was causing this. Yup, it sure was. With this switched off, the camera is perfectly quiet and steady with R primes mounted. I wish I had known this the first few days I was using the camera. I've read the manual and cannot figure out why one would want this turned on since it means the camera is constantly chewing battery when this function is engaged. Perhaps I missed the value proposition in the documentation.
The X-Pro 2 fits into that mirrorless space often referred to as the street shooter space. In fact I requested the 23/1.4 R (35mm FF equiv) specifically for this purpose. The camera is lightweight and unobtrusive and none of the people I made images of appeared to feel threatened or made any gestures towards me. I am not one of those street photographers who employs stealth and deception so people don't know that someone is making photographs. I wave and smile and talk to the people I photograph. Thus, I am unable to answer whether the X-Pro 2 is suitable for that kind of surreptitious work, because I don't work that way. As a visible street shooter, I will say that the X-Pro 2 is awesome for street work. It's fast, unobtrusive and the combination of fast AF and no shutter lag makes it perfect.
The LCD is not of the flip and tilt variety, although I think that this would be useful, not for selfies but for low and high shots. The LCD is not a touchscreen. I know many people wouldn't touch a camera that did not have a touchscreen, I much prefer a camera that is not a touchscreen. I like knobs and dials, well designed and intelligently positioned so I can use the camera without removing it from my eye. When I encounter a camera with a touchscreen I look in the menu to discover how to turn the damn thing off. It's fine on a phone, but I really find it annoying on the back of a camera. The X-Pro 2 is definitely designed for a shooter like me who would prefer to stay the hell out of menus and have simple knobs, dials and rings right at hand.
I am a left eyed shooter and like many cameras of this size, the viewfinder eyepiece is nearly flush with the back of the camera, so the LCD becomes a catch basin for sweat from my nose. I carry a microfibre cloth, because Fujifilm is certainly not the only manufacturer that creates this issue. If I owned one, I would look into an eyecup to hold the camera back a bit. This is another reason I don't like touchscreens. I have encountered too many that start changing things if my nose contacts the LCD. Equal rights for left eye dominant photographers!
I like that most of the lenses I used had actual aperture rings. I tried one zoom, a 55-200,and you had to spin a little dial to set the aperture. I liked that a lot less than the intuitive rings on the other lenses I used. The aperture rings all had an A position for automatic aperture control in Program or Shutter Speed preferred modes. The Shutter speed control is a nice dial that has a locking nub. You lift and turn the outer ring of the shutter speed dial to set the ISO. The numbers in the little window are a bit too small for me, requiring me to put on cheater glasses when I wanted to change things. There is of course an Auto-ISO option and you have three different Auto-ISO parameter sets to choose from. There is also a physical exposure compensation dial. It goes +- 3EV on the dial itself and has a C mode so you can use the front panel recessed wheel to set your compensation if you prefer that route. I like the big manual dial, I just wish it locked as I found myself changing the setting inadvertently more than I would like.
The on/off switch circles the shutter button which feels very good. There is clear pressure at the halfway point, but the press through is short making stab blur unlikely. To the right is a function button that by default is the movie record start/stop button. There is a hot shoe for Fujifilm TTL flash but it works with anything that can sit in the shoe. I did not have a Fujifilm flash as part of the kit so I plugged an ancient Metz 45CT4 into the PC sync port and all was good. Perhaps I am old-fashioned but I really appreciate when a camera delivers a proper PC sync port. It's too bad that many vendors are leaving them off even expensive products, such as the MIA port on the Nikon D750. The viewfinder has a proper adjustment dial for your eyesight, but it is exposed and I found that it had been moved accidentally on multiple occasions. For the test, I solved this by setting it and then taping over it with a small piece of gaffer tape. I always have gaffer tape in my bag, but the diopter should be locked or recessed to avoid needing this less than stellar solution.
The X-Pro 2 is plainly designed to be shot handheld. There are comments on forums that with some of the larger lenses, that they interfere with the tripod head. I did not find this at all in my tests. I screwed a small dovetail plate to the tripod socket so I could easily mount the camera to a Really Right Stuff ball head.
I found the digital level very handy. For some reason, I was consistently off kilter a few degrees and found the level useful as a guide. I am more interested in learning why my natural position is off with this style of camera. I don't have this issue with my larger cameras but I have also encountered it with my Leica M. I think it is because there is little to hang onto with the X-Pro 2. I like large meaty grips. Given my desire for more grip and an Arca-Swiss dovetail, I was very impressed to discover that Fujifilm makes the MHG-XPRO2 which is a meatier handgrip and 8mm baseplate extension that includes an Arca Swiss dovetail if I am reading the docs correctly. You can still get at the battery and the SD card slots without removing the grip. Were I purchasing my own X-Pro 2, this would be a must have. Even my fellow photographer Isabel felt the native X-Pro 2 was not easy to hang onto and her hands are half the size of my paws. There is a finger grip on the right side front of the body, unlike the flat plate on a Leica, but for my hands, I would like something a bit more pronounced. After shooting the camera every day for nearly three weeks, I became much more comfortable with the small grip.
I'm not a believer in the "carry lots of small memory cards" myth. Carry lots of big memory cards if you must go the multiple card route. I use only Lexar and Sandisk cards and have never had one go bad. I have had BillRayJoeBob house brand cards fall apart, stop recording, randomly change their available size amongst other errors. So I stopped buying junk and have never had a problem since then. I also replace a card after it has been in service for three years as a matter of course. Storage keeps getting cheaper and I never lose an image. Sorry, back on track. Fujifilm provides two IDENTICAL SD card slots in the X-Pro 2 so I could load up a pair of 64GB cards if I wanted to, and would only need one kind of card reader. Kudos to Fujilfilm engineers for not pulling the major jerk move of using two different card slots, and a pox on those designers who put two different card slots in cameras. Grrrr and a big round of applause to Fujifilm for getting it right.
I don't regularly shoot with an EVF, and I discovered that when using a circular polarizer, I really could not tell where the maximum effect would occur. I could see it holding the filter to my eye, but not through the EVF. Perhaps I was doing something wrong, or there is something about an EVF that diminishes the view of a polarizer. I went back and tested this many times and still don't feel I am seeing the real impact of the polarizing filter in the EVF. Obviously I would not see anything in optical or hybrid modes. I even tried this aiming at an LCD panel, where the effects of a polarizer are really visible. Nope, I could do nothing to make the EVF look like what I saw through the polarizer handheld. It's not a showstopper but makes me wonder why.
I hear and read in reviews a deep and abiding love for cameras that charge through the USB port. That's all well and good but no mirrorless matches a DSLR for battery life, partly because the battery is physically smaller and partly because the camera needs to drive the LCD and possibly an EVF all the time. So I believe that any serious shooter will need at least one, perhaps two spare batteries. Fujifilm gets this and provides a separate battery charger so you can be charging one battery while shooting. I do hear the wah wah wah about how a charger needs AC. Every coffee shop and McDonald's has an AC outlet usually handy. Most cars either have a converter outlet installed or you can get a very inexpensive inverter that runs off the 12v power accessory port. The manual does not state whether the camera can be charged via USB, and in very limited trials, it appears not to do so. I personally don't care, preferring to have a separate charger and multiple batteries. For those who complain about having to carry a charger while traveling, best of luck with that and your other first world problems.
When I was shooting off a tripod, I wanted to trigger the camera with a remote to avoid imparting any shake in my long exposure images. The self timer is a good route for that, but I found getting to it and turning it off to be more steps than I cared for. Fortunately Fujifilm provides a remote control option that uses an industry standard jack that can be either the jack for a remote or a microphone, selected by a menu option. They do make their own remote control, called the RR-90 that plugs into the USB port. I didn't have the brand name product so decided to try a couple of more generic releases. When you plug a release in, the camera intelligently pops up a little dialog reminding you to select whether it's a microphone or remote. I first used an offshore clone of a lockable electronic cable release that uses the 3/32 plug. It worked perfectly. Then I tried my Phottix Aion release that incorporates multiple functions. It worked fine plugged in directly and also when using the radio receiver plugged into the camera and the transmitter some distance away. There is also a smartphone app that you can download at no charge that works well. It's simple enough and the camera generates its own WiFi network for the smartphone to connect to. I have to say that I was not enamoured of the smartphone app. If I touched any control on the camera while it was connected to the app, the camera would drop the WiFi connection. Exiting the remote control mode also dropped the WiFi connection, so I had to reconnect if I wanted to browse images on the card from the smartphone. The app works but needs some attention. Do note that if you shoot RAW, remote viewing and downloading of images is going to be very slow. In reviewing the files from the card, my Uncompressed RAWs average around 50mb each. The compressed RAWs are smaller at around 25mb, but since Capture One could not read the compressed RAW files, I stuck with the uncompressed. I've included a gallery of screenshots from the app here.
Screenshots from the App
Menus, Layout and Screwing Up
Invariably folks ask me about the menu system. The good news is that it's better than some competitors. The bad news is that it's not as good as it could be. The text is small and hard to read without my cheater glasses, the options are not completely clear as to meaning, and there is more techno-jargon than I would like. Canon offers context sensitive help in some of their menus. This would be a nice enhancement. You do have to read the manual to figure out how to get out of continuous drive or auto bracketing. It's not intuitive and you can only really get to it through the drive button function above the Set/Ok button. If these options exist in the menu, I didn't find them. Fujifilm does try to structure related items together. I suspect if you only used a Fujifilm product you would pick it up pretty quickly. I work with cameras from many manufacturers and their menus all seem to mush together in my brain. This is why I like dedicated buttons and dials. I credit Fujifilm for not festooning the X-Pro 2 with a stack of unlabeled function buttons that are programmable but with no mnemonic indicators of what it does. Simple is better, particularly when you want the camera to your eye, as opposed to held away from your eye to try to figure out how to do something while Unicorns and Sqwonks happily dart past knowing you have no chance of making a photograph of them.
I managed to screw myself in a recent studio shooting situation. I had read the manual upon receiving the camera and understood it to say that when shooting in Manual mode, in order to see anything on the EVF or LCD to set the Exposure Preview to Exp/WB if the lighting was dim. To my chagrin, I got into the studio that I was invited to and could not see a darn thing on either the LCD or the EVF when in Manual mode. I had the manual on my phone, but had not brought it in to avoid distracting other people. A partial press on the shutter would give a half second of display while the camera focused, but it made accurate framing impossible. I switched the EVF to the hybrid setting showing the optical viewfinder with the digital overlay. As I was shooting with the 50-140 at 140mm, the frame was rather small in the optical finder and to my disappointment, the visual alignment was not consistent compared to the shots, as a result, most were not worth keeping. Only by using this mode and imparting a manual shift was I able to get anything vaguely worth keeping. I was part of a group and had very limited time to shoot so was unable to figure out the answer while there. When I got home, I went back to the documentation and reread it. It still sounded as if I had done it right. When I tried the WB only setting, the LCD and the EVF showed me the actual room illumination, not the simulated exposure. When I turned the preview setting to OFF, both the EVF and the LCD showed the room illumination. When you do this you lose the exposure simulation preview that can be so very useful for most shots, but as I do a lot of work in dark studios with only strobes for light (although mine do have modeling lights, the ones in the studio I was at were not working), I would be inclined to want to program a function button to toggle exposure preview on or off. If it were possible, I would likely reprogram the video start / stop button as I don't think that I would shoot a lot of video with the camera. I understand that I am probably outside the typical user of the X-Pro 2, but it's a point to be aware of. This one thing really bugged me, but that's my problem.
Once I solved the issue, I went into my own studio and tried shooting again. This time, I had no issues, so long as I turned exposure preview off. When I was at the first studio, the strobes being used were Paul C Buff Einsteins and using their radio trigger, I was getting two pops at each shutter press. Back in my own studio, I setup a single Elinchrom Quadra A head and using the Elinchrom Skyport EL had very consistent and proper experience with the strobes. I chose the Elinchrom over my usual Profotos because my Profoto remote has a number of extra pins for Canon cameras and I did not want to risk any issues on the camera or the transmitter. The Elinchrom Skyport EL has only one pin and has proven to work with anything I have tried with it.
I managed to shoot the camera with a number of different lenses. I specifically asked for the 23/1.4 because it is my perfect street shooting focal length having the characteristics of a 35mm on full frame. It's wonderfully sharp, with great colour and contrast. The lens remains compact despite the wide maximum aperture. This lens also has a push pull for really precise manual focus that I really enjoyed when I added focus peaking to the process. Amazingly for 2016, the lens also has a proper hyperfocal distance scale! I first shot Fujinon glass about 35 years ago and remember it as being superb. Nothing has changed to the negative and I still find Fujifilm's EBC (Electron Beam Coating) to be very neutral and to go a good job controlling flare and internal reflections, even when the photographer points the lens at the sun. It's my opinion, that the quality of Fujinon glass has not been as well respected as it should be. Folks who buy this camera are going to be getting great lenses, particularly if they choose the fast stuff.
In addition to the 23/1.4, I arranged to borrow from another source, a 16-55/2.8 and a 50-140/2.8. These two lenses compare directly to the two faves of full frame shooters, the 24-70/2.8 and the 70-200/2.8 . No coincidence there I think. I confess that I usually don't care for the 24-70 range, finding it not wide enough and too short at the same time. I will be rethinking that after spending time with the 16-55 on the X-Pro 2. I think that this pairing is just about perfect. When I looked through all the images I shot, that combination was far and away the most used pairing, although I did find a tendency to be somewhere around 23mm on the zoom ring for many shots. The lens is not small, so you can forget all that noise about mirrorless being smaller. It's not so in this case, and I personally could care less. The camera and lens handle very well together, although I would prefer it I suspect with the grip option mentioned earlier. I was not comfortable shooting in the first studio with the 50-140 because I had to be in optical hybrid mode to be able to see the model, not having figured out the exposure preview off setting for Manual mode at that time. The lens is large and hard to use in optical or optical hybrid mode. Once I was shooting in my own studio with exposure preview off and able to use the EVF as the engineers had intended, the 50-140 was much more comfortable to handle and to shoot. The images are very sharp, with excellent colour rendition and contrast. Like the 16-55/2.8, I put it in my must have list for the X-Pro 2 owner. As I surveyed the list of lenses that Fujifilm has available, it reminds me again that the oft-repeated story that mirrorless cameras have a very small selection of lenses is, in this instance at least, a complete line of poop. Fujifilm has glass for everything except super long, super fast lenses for sports and wildlife.
I also shot some landscapes and panoramas, primarily with the 16-55. I used a Lee Big Stopper to smooth some water on a lake and while the camera thought it was calculating the exposure properly, it ended up underexposing. This is not unique to Fujifilm. I typically go to manual and use the Lee app on my smartphone to tell me the proper exposure with the filter and that worked out just fine. As is common, I had to carry stepping rings as the three lenses I had, all used different sized filters.
In the image gallery is a shot of my cat Kevin, made in horrible light with the 55-200 and camera on a Really Right Stuff TQC-14 travel tripod. Exposure information is 1/20 f/4.8 ISO 3200. The point I want to make is, even this close, with the room EV at -1.53, (which for the none light meter wonks means DARK) the X-Pro 2 produced an image with great tonal range and superb sharpness and most relevant, next to no noise. Many X-Pro 2 buyers will never use the camera with a flash or a strobe. This performance of the camera with one of the more inexpensive lenses at high ISO is stellar.
All shot in RAW, processed in Lightroom or Capture One. Plugins used for some images.
Video Up Close Look
For those who would like to see the camera in scale and who would like a tour of the camera, there's a video that you can watch right here that covers that material.
I don't produce test charts or stuff of that kind. There are folks that do and they do an excellent job. I evaluate a camera by shooting it in real world situations based on my own use cases. I understand that my use cases won't be identical to yours, but there may be some areas of consistency and overlap. All the images in this article were shot on the X-Pro 2 and all were processed in some way with the exception of the film simulation JPEGs and even they were imported to Lightroom and exported as smaller sized images to make sharing simpler.
I have to be blunt and say that going into this, I had not heard good things. Most of it was the usual kind of vendor bias junk that we all hear, but even from some credible folks, I heard "too expensive" and "like a DSLR only more expensive". I heard one rant against hipster urban trendies all about their mirrorless cameras. Umm okay… Let's clear the cost argument out of the way first. A Fujifilm X-Pro 2 body is selling here in Canada as I type this for about $2000. That's the same kind of money as a Canon 7D Mark II, a body that I own and that I would say is feature competitive with the X-Pro 2, although I find the X-Pro 2 to have better high ISO performance. The 23/1.4 R sells for about $1100, not inexpensive but about $1000 less than the comparable Nikon glass, or about the same as the killer Sigma ART 35/1.4. The 16-55/2.8 can be found for around $1400 whereas Canon's 24-70/2.8 sells for about $2350. Lastly we can compare the selling price of the 50-140/2.8 to a Nikon 70-200/2.8 with pricing at $1900 and $2500 respectively. Yes both Canon and Nikon have more glass to choose from, my question is always, what do you need for what you shoot?
I wouldn't pick the X-Pro 2 for sports or wildlife. The glass is just not there. Neither is the blisteringly fast autofocus of a 1Dx Mark II or D5, and no EVF recovers as fast as an optical viewfinder, so far at least. If I were shooting street, landscapes, scenics, night skies and that sort of thing, there is nothing that I discovered that would make me remove the X-Pro 2 from my qualified list. I shot all of those successfully along with portraits with the X-Pro 2. I know that mirrorless cameras still don't get respect from some of the big DSLR shooters. That said, when one is objective, there's a lot to like here. There is a wide pantheon of Fujinon glass that mounts to this camera. The only missings are the big and expensive super telephotos, but the sales of 400mm f/2.8 lenses are few and far between. You can get as wide as 15mm equivalent, and I would certainly do so. Certainly I would want more control in the menus of how the displays respond, particularly when working in dark studios where the only light is going to come from strobes. If Fujifilm were to care what this one person thought, I would ask that the LCD be made to tilt and swivel. No touchscreen thanks, but older joints do appreciate the ability not to have to crawl on the ground for low shots. I know the actual usage numbers for video in DSLRs and while it is higher in mirrorless, cannot fault Fujifilm for sticking to 1080p60 for video. 4K would be nice, but would raise the price and change the buyer perception of return on value. I would love to see a mirrorless maker that is building a $2000 product acknowledge the battery life realities and put a second battery in the box. Retailers hate that because they think it impacts add-on sales. I don't agree. I think it demonstrates that the manufacturer gets "it" and really cares about the buyer.
Someone said to me that they could get someone started with an entry DSLR for much less money. Yup. But that's a ridiculous comparison because the X-Pro 2 is not an entry level product. I have not seen the X-T2 yet, but I can tell you that as a professional image maker, that this X-Pro 2 is pro grade gear. For some reason, some readers want to know if I would buy one. So yes I would, if I had a use case that was going unanswered. I think that if I didn't have my Leica and lenses, I would very seriously consider the X-Pro 2 for that space. The advantage of the Leica is that it is unobtrusive. The X-Pro 2 with the 23/1.4 is also unobtrusive. It's only when you put the fast zooms on it that it starts to stand out.
I was surprised to discover that I used the X-Pro 2 like a Leica and that is what really won me over. Extremely high usability, great lenses and excellent performance.
For those who love specs, here they are, courtesy of Fujifilm Canada
Model Name FUJIFILM X-Pro2
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 mediaSD memory card(up to 2GB) / SDHC memory card(up to 32GB) / SDXC memory card( to 256GB)
UHS-I/UHS-II(Only Slot 1)*1
JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW(RAF original format), RAW+JPEG (Design rule for Camera File system compliant / DPOF-compatible)
Movie File Format: MOD
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 mountFUJIFILM X mount
SensitivityAUTO1 / AUTO2 / AUTO3(up to ISO12800) / ISO200 to 12800(1/3 step)(Standard Output Sensitivity)
Extended output sensitivity : ISO100 / 25600 / 51200
Exposure control TTL 256-zone metering, Multi / Spot / Average / Center Weighted
Exposure mode (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
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.
1 sec. to 1/32000 sec.(P / A / S / M modes)
Bulb mode : 1 sec. fixed, TIME : 1 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. 8.0 fps (JPEG : 83 frames Lossless compression RAW : 33 frames Uncompressed RAW : 27 frames)
Approx 3.0 fps (JPEG : endless Lossless Compression RAW : endless Uncompressed RAW : 36 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)
Single AF / Continuous AF / MF
Intelligent Hybrid AF (TTL contrast AF / TTL phase detection AF)
AF frame selection
Single point AF : EVF / LCD / OVF : 11x7/21x13(Changeable size of AF frame among 5 types),
Zone AF : 3x3 / 5x5 / 7x7 from 77 areas on 11x 7 grid,
Wide / Tracking AF : (up to 18 area)
- * AF-S : Wide
- * AF-C : Tracking
White balance Automatic Scene recognition /
Custom 1 to 3 / Color temperature selection(2500K - 10000K) /
Preset : Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light, Underwater
Self-timer10 sec. / 2 sec. Delay
Interval timer shooting Yes (Setting : Interval, Number of shots, Startinng time)
Red-eye removal OFF
Auto / Forced Flash / Slow Synchro / Suppressed Flash / Rear-curtain Synchro / Commander
Red-eye removal ON
Red-eye Reduction Auto / Red-eye Reduction & Forced Flash / Red-eye Reduction & Slow Synchro / Suppressed Flash / Red-eye Reduction & Rear-curtain Synchro / Commander
- * Red-eye removal is active when Face Detection is set to ON.
Hot shoe Yes (Dedicated TTL Flash compatible)
Reverse Galilean viewfinder with electronic bright frame display
Coverage of frame area v.s. capturing area: approx.92% Magnifications approx x0.36 / x0.60
0.48-in TFT color viewfinder Approx 2.36 millions dots(4:3) Coverage of viewing area vs. capturing area : approx. 100%
Eyepoint : approx 16mm(from the rear end of the camera's eyepiece) Diopter adjustment : -4 to +2m-1
Magnification : 0.59x with 50 mm lens (35mm equivalent) at infinity and diopter set to -1.0m-1
Diagonal angle of view : approx 29.1°(Horizontal angle of view : approx 24.4°)
Built-in eye sensor
LCD monitor 3.0-inch, aspect ratio 3:2, approx 1.62 millions dots
Movie recording Full HD 1920x1080 60p / 50p / 30p / 25p / 24p up to 14 min.
HD 1280x720 60p / 50p / 30p / 25p / 24p up to 28 min
- * Use a card with SD Speed Class with 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+GFilter, 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)
IEEE 802.11b / g / n (standard wireless protocol)
WEP / WPA / WPA2 mixed mode
Wireless function Geotagging, Wireless communication (Image transfer), View & Obtain Images, Remote camera shooting, PC Autosave, instax printer print
Other functions 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
USB 2.0 High-Speed / Micro USB
- * connectable with Remote Release RR-90 (sold separately)
HDMI micro connector (Type D)
Microphone / shutter release input: ø2.5mm, stereo mini connector
Hot shoe, Syncronized terminal *Mechanical release S1 button
Power supply NP-W126 Li-ion battery (included)
Dimensions 140.5mm (W) x 82.8mm (H) x 45.9mm (D) / 5.5in. (W) x 3.3in. (H) x 1.8in. (D)
(Minimum depth: 34.8mm / 1.4 in.)
Weight Approx. 495g / 15.7 oz. (including battery and memory card)
Approx. 445g / 17.5 oz. (excluding accessories, battery and memory card)
Operating Temperature -10°C - 40°C / +32°F - +104°F
Operating Humidity 10 - 80% (no condensation)
Battery life for still images*4 Approx. 250 / 350 frames (EVF / OVF, When XF35mmF1.4 R is set)
Battery life for movies*4
single consecutive movie: approx. 110 min. (Face detection is set to OFF)
Starting up period Approx 0.4sec.
- * Fujifilm research
Accessories included Li-ion battery NP-W126
Battery Charger BC-W126
Clip attaching tool
- *1Please see the Fujifilm website (http://www.fujifilm.com/support/digital_cameras/compatibility/card/x/) to check memory card compatibility.
- *2Exif 2.3 is a digital camera file format that contains a variety of shooting information for optimal printing.
- *3The Electronic Shutter may not be suitable for fast-moving objects. Flash can not be used.
- *4Approximate number of frames / period that can be taken with a fully-charged battery based on CIPA standard.
Memory Card Capacity and Image Quality / Size
All figures are approximate; file size varies with the scene recorded, producing wide variations in the number of files that can be stored.
Number of images
Modes Still image (L)
Number of recorded pixels 6000 x 4000 (3:2)
QualityJPEG FINEJPEG NORMAL
SDHC memory card 8 GB 540 800
16 GB 1110 1660
Number of images
Quality UNCOMPRESSED LOSSLESS COMPRESSED
SDHC memory card 8 GB 150 300
16 GB 320 630
Quality FULL HD (1920 x 1080) 60p / 30pHD (1280 x 720) 60p / 30p
SDHC memory card 8 GB 26 min. 51 min.
16 GB 54 min. 105 min.
- *For recording movies, use a card with SD Speed Class with or higher.
- *Individual movies cannot exceed approx. 14 min. on Full HD mode, and approx. 28 min. on HD mode in length.