Fuji X100Vi Documentary photography: How does it perform?
I’ve been using the Fuji X100Vi for Documentary photography and during my travels. Documentary photography often calls for a tool that’s as straightforward as it is capable, freeing the photographer from the complexities of gear decisions and allowing them to focus fully on the story they’re capturing. The Fuji X100Vi meets these needs exceptionally well. While it’s a camera known for its popularity with the instagram crowd, the X100Vi’s real strength lies in its simplicity and fixed-lens design, which strips away the distractions of lens choices, focal lengths, and heavy post-processing. Instead, it provides a direct, intuitive way to document life as it happens. This aspect of the Fuji X100Vi really helped me to focus on my photography while on a trip to Devon recently.
Fuji X100Vi: A Fixed-Lens Approach to documentary photographs
The Fuji X100Vi comes with a 23mm f/2 fixed lens, offering a 35mm equivalent focal length that many photographers find ideal for storytelling. This fixed lens does more than just limit choices; it encourages you to be fully present in your surroundings, knowing that you don’t have to worry about changing lenses or adjusting your gear. With just one focal length, you start to see the world differently, developing an intuitive sense of how each frame will look through the lens. This approach aligns perfectly with documentary photography, where capturing a scene’s authenticity is far more important than technical perfection.
As you get familiar with this focal length, compositions and perspectives start to come naturally. The constraints of a single lens push you to experiment with positioning, angles, and depth, ultimately enhancing your creative eye. You begin to recognize patterns, notice the subtleties of light and shadow, and instinctively capture moments as they unfold. This focus on storytelling through a single perspective is what makes the X100Vi an exceptional tool for documentary and travel photographers alike.
Compact and Unassuming: Blending Into the Scene
In documentary photography, the ability to capture genuine, unguarded moments is invaluable. The Fuji X100Vi’s small size and understated design make it perfect for this purpose. Unlike larger DSLR setups, which can be intimidating or disruptive, the X100Vi’s compact form allows photographers to blend into their surroundings. Its unassuming look makes it less likely to draw attention, enabling photographers to capture scenes without disturbing the natural flow of events. I’ve slimmed down my photography kit these days and have a great compact setup which you can see here.
Moreover, the camera’s leaf shutter is nearly silent, adding another layer of discretion. Whether photographing people on a busy street or capturing quiet moments indoors, this silent shutter helps maintain the scene’s authenticity, which is crucial in storytelling work. The X100Vi doesn’t demand attention, making it easier to capture real-life interactions and the nuances of everyday life.
Built-in ND Filter and Leaf Shutter: More Control in Every Condition
Two features that truly elevate the X100Vi for documentary photography are its built-in ND filter and leaf shutter. The built-in 4-stop ND filter allows you to shoot at wide apertures, even in bright daylight, which can add a beautiful separation between subject and background. This capability is especially useful in travel photography, where I am often in sunnier parts of the World.
The leaf shutter also enables high-speed flash sync up to 1/2000s, a unique advantage for a compact camera. This feature allows photographers to balance natural and artificial light easily, making it perfect for backlit portraits or scenes with complex lighting. Combined, these features provide a level of control that’s rare in compact cameras, giving documentary photographers more creative options without needing additional gear.
JPEG Quality: Shoot and Share Without the Hassle of Editing
One of the standout aspects of Fuji cameras is their outstanding in-camera JPEG processing. The X100Vi is no exception, featuring Fuji’s signature film simulations that produce beautiful images straight out of the camera. For photographers who prioritize storytelling over post-production, this is a game-changer. The X100Vi’s Classic Chrome film simulation, in particular, delivers muted tones and a cinematic feel, making it ideal for documentary work.
Because the camera produces such high-quality JPEGs, I often find I don’t need to use the RAW files, saving time and potentially storage. This emphasis on in-camera quality aligns perfectly with the philosophy of documentary photography—capturing the moment as it is, with minimal alteration. By reducing the need for post-processing, the X100Vi enables photographers to focus on shooting rather than editing, making it a perfect tool for photographers who want to stay present in the moment.
Documentary photography and Weather Sealing: Built for Real-World Conditions
Documentary projects often lead us to unpredictable environments. With the addition of a UV filter on the X100Vi’s lens, the camera becomes weather-sealed, adding a layer of protection against the elements. Whether you’re shooting on a windy coastline, in light rain, or in dusty conditions, the X100Vi can withstand a variety of climates. For travel photographers, this feature is invaluable. It allows you to shoot in diverse environments without worrying about damaging your equipment, so you can focus on your project instead.
The Fuji X100Vi as a Creative Partner
Ultimately, the Fuji X100Vi goes beyond its specs to become a true creative partner for photographers who value storytelling. By removing the complexities of interchangeable lenses, offering top-tier JPEG quality, and allowing me to blend into any setting, the X100Vi allows me to focus on what matters: capturing the world around me authentically. Its timeless design, reminiscent of classic film cameras, puts me in the right mindset for storytelling, helping me to approach my work with intention and focus.
For anyone looking to document real moments and tell impactful stories, the Fuji X100Vi offers a unique blend of simplicity, power, and reliability. With its thoughtful design and feature set, this camera proves that sometimes, less really is more.
Conclusion: More Than Just a Camera
The Fuji X100Vi for documentary photography is more than just a tool; it’s an invitation to slow down, to see, and to truly connect with each scene. Its features encourage photographers to be present, to focus on the story rather than the settings, and to capture images that resonate with authenticity. Whether you’re a seasoned professional or an enthusiast, the Fuji X100Vi offers a refreshing approach to photography, reminding us that sometimes, the best way to capture life is through simplicity.
Fuji XT5 vs X100VI for Street Photography: A Detailed Comparison
When it comes to street photography, trying to decide between the Fuji XT5 vs X100Vi can be tough. Fujifilm has always been a top choice for photographers who want a balance of exceptional image quality and classic design. Two of the most popular options right now are the Fuji XT5 and the highly sought-after X100VI. Both of these cameras bring Fujifilm’s signature features and performance to the table, but in very different ways.
With the X100VI being notoriously hard to find in stock, many photographers are considering the XT5, paired with one of Fuji’s compact prime lenses like the 23mm f/2 or the 35mm f/2, as a potential alternative. While both cameras share the same 40MP X-Trans 5 sensor and the latest film simulations, they offer unique handling experiences. So, how do they compare, and which one might be the better fit for you?
In this post, I’ll dive into the key differences between the Fuji XT5 and X100VI for street photography. If you want to know which one I recommend, make sure to watch my YouTube video at the end for my full review and detailed opinion.
Fuji XT5 vs X100Vi – Image Quality: A Level Playing Field
First and foremost, let’s talk about image quality. Both the XT5 and X100VI are equipped with Fujifilm’s latest 40MP APS-C X-Trans 5 sensor, so you can expect the same level of image quality from both cameras. Whether you’re shooting in bright sunlight or low light, both cameras deliver sharp, detailed images with excellent color rendering and dynamic range.
One of the reasons I love Fujifilm is the variety of film simulations available, and both the XT5 and X100VI come with the full set, including the newer Reala Ace simulation. These film simulations are particularly useful in street photography, where you can quickly switch between different color tones or black and white without needing to spend time in post-processing.
In terms of autofocus performance, I’ve found both cameras to be very similar. They offer fast and accurate autofocus, which is essential for street photography when you need to capture moments quickly. The XT5, when paired with Fuji’s f/2 prime lenses, feels a little quicker because the lenses are virtually silent, whereas the X100VI’s fixed lens does produce a bit of noise due to its focus motors.
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Design and Handling: Compact vs. Versatile
Now, let’s get into where these cameras really differ – design and handling.
Fujifilm X100VI: Compact and Discreet
Notice how flush the LCD screen is on the X100Vi
The X100VI is known for its compact size and portability, making it an excellent choice for photographers who want to be discreet while shooting on the street. It features a fixed 23mm f/2 lens (35mm full-frame equivalent), which is a fantastic focal length for street photography, offering a good balance between wide-angle and standard field of view. I’ve shot everything from portraits to travel photos with this focal length, and it works well for most situations.
The hybrid viewfinder on the X100VI is one of its standout features. It gives you the option of an optical viewfinder with an electronic overlay, or a fully electronic viewfinder. The optical viewfinder can be particularly useful in street photography because it lets you see subjects entering the frame before they’re captured, helping you time your shots more effectively. It also offers focus aids like magnified view and focus peaking, which can help when you’re shooting manually.
However, the grip on the X100VI is small. While it contributes to the camera’s compact size, I’ve found it a bit uncomfortable for longer shooting sessions, especially when shooting one-handed. To improve handling, I’ve added a SmallRig thumb rest and a grip extender, which makes it much more comfortable to use over extended periods.
Fujifilm XT5: Versatility with Interchangeable Lenses
On the other hand, the Fuji XT5 offers a more traditional DSLR-like design, with a larger body and central viewfinder hump. While it’s not as compact as the X100VI, it’s still relatively small and portable, especially when paired with one of Fuji’s compact prime lenses, such as the 23mm f/2 or 35mm f/2. This gives the XT5 an edge in terms of versatility, as you can switch lenses to suit different shooting situations.
The grip on the XT5 is larger, providing a more comfortable hold for longer shoots. I prefer to add a SmallRig grip when I know I’ll be shooting for an extended period, but even without it, the XT5 offers enough purchase to hold the camera securely. The 3-way tilting screen on the XT5 is also a nice touch, allowing for more flexible shooting angles, especially in portrait orientation. In contrast, the X100VI’s screen only tilts in two directions, but it’s sleeker and flush to the body, giving the camera a very streamlined appearance.
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Controls and Customization: Traditional Fujifilm Dials
Both the XT5 and X100VI feature external control dials for shutter speed, ISO, and (when paired with a lens that has an aperture ring) aperture, which makes them both intuitive to use. This is one of the things I love most about Fujifilm cameras – the ability to quickly change settings without diving into menus.
X100VI: Compact Control Setup
The X100VI has a more streamlined control layout, with fewer physical buttons compared to the XT5. The ISO dial is integrated into the shutter speed dial, which can be adjusted with just one hand while shooting. I find this particularly useful in fast-paced environments like street photography, where every second counts. However, the X100VI relies more heavily on its touchscreen for navigating certain settings.
XT5: Extra Customization
The XT5 offers a bit more customization with the inclusion of a D-pad on the back, allowing for more function buttons and quicker access to frequently used settings. This can be a real advantage if you like to tweak your settings on the go. Additionally, the XT5 has dual SD card slots, which is useful if you’re shooting in RAW or want the peace of mind of having a backup card.
In-Use Experience: Portability vs. Flexibility
The X100vi’s LCD screen only articulates in two directionsThe XT5’s 3 way articulating screen is more flexible
When it comes to real-world use, there are a few factors that might influence your decision.
Portability: X100VI
If you prioritize portability and discretion, the X100VI is hard to beat. Its leaf shutter is quieter than the XT5’s mechanical shutter, making it less noticeable in quiet environments. The fixed 23mm lens doesn’t protrude far from the camera body, giving the X100VI a very compact profile, and its built-in flash is great for adding a touch of fill light in backlit situations. The 4-stop ND filter is another handy feature that lets you shoot wide open in bright light without needing to attach any external accessories.
Flexibility: XT5
On the flip side, the XT5 offers much more flexibility thanks to its interchangeable lenses. While the 23mm f/2 lens on the XT5 gives a similar field of view to the X100VI, the ability to switch lenses gives you more creative options. Whether you’re looking to shoot wide-angle street scenes or zoom in for a tighter portrait, the XT5 can adapt to a wider range of scenarios.
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Battery Life and Storage
Both cameras offer USB-C charging, which is convenient when you’re out on a long day of shooting. The XT5 has a larger NP-W235 battery, which generally lasts longer than the X100VI’s NP-W126S battery. However, I find that both cameras last long enough for most street photography sessions but I always carry a spare battery in my bag.
The XT5’s dual SD card slots are a nice addition, especially if you shoot in RAW or need to back up your images on the go. The X100VI only has a single card slot, but for most street photography, this isn’t a dealbreaker.
The inclusion of the D-Pad on the XT5 means it’s more customisable
Fuji XT5 vs X100Vi – Which Camera is Best for Street Photography?
At the end of the day, both the Fuji XT5 and X100VI are excellent cameras for street photography, but they cater to slightly different needs. The X100VI offers simplicity and discretion, while the XT5 provides more versatility and customization.
If you’re still unsure which one is right for you, I’ve made a detailed video comparing these two cameras in action. Be sure to check it out on my YouTube channel, where I go into more depth about the strengths and weaknesses of each model and offer my personal recommendation based on real-world use.
if you would like to see how best to setup the Fuji XT5 for street photography then head on over to this article or this video
Fuji XT5 Street Photography Best Settings: A Complete Guide
Are you ready to take your Fuji XT5 street photography to the next level? If you’ve been searching for the best settings to optimize your camera for dynamic, fast-paced environments, you’ve come to the right place. In this guide, I’ll walk you through the key settings I use on my Fujifilm XT5, including custom function buttons and film recipes that will give your photos a distinctive look.
But if you prefer video tutorials or want to see these settings in action, I’ve put together a detailed YouTube video where I go over my full setup for street photography, including tips and examples. You can watch the video here:
Now, let’s dive into the settings.
1. Image Quality Settings
Getting the right image quality is crucial for street photography, especially when you’re shooting fast and in varied light. Here are the settings I use to ensure I capture both JPEG and RAW files:
–Image Quality: Fine JPEG + RAW
–RAW Recording: Lossless Compressed
–JPEG/HEIF: JPEG
–Film Simulation: Classic Chrome (or your choice—check out my YouTube video for more film recipe options!)
– Grain Effect: Off
– Color Chrome Effect: Off
– Color Chrome FX Blue: Off
– Smooth Skin Effect: Off
If you want to see how these settings translate to real street photography scenarios, don’t forget to check out my YouTube video where I walk you through these settings in real-time on the street.
2. White Balance & Dynamic Range Settings
These settings will help you maintain accurate colors and prevent blown-out highlights or shadows in varying lighting conditions.
– White Balance: Daylight
– Dynamic Range: Auto
– D Range Priority: Off
– Tone Curve: Default (H: 0, S: 0)
Want to see how I adjust these settings on the go in fast-changing street scenes? Be sure to watch this YouTube video for live demonstrations!
3. Color & Sharpness
Neutral colors and sharpness are essential for clean, striking images. Here are the best settings to achieve that:
– Color: 0
– Sharpness: 0
– High ISO NR: -4
– Clarity:c0
– Color Space: Adobe RGB for printing, or sRGB for general use
4. Auto Focus Settings
Street photography often happens fast, and you need autofocus settings that can keep up. Here’s what I recommend:
– Focus Area: Zone
– AF Mode: Zone
– If Using Single Point AF: Set focus points to 425
– AF Illuminator: Off
– Face/Eye Detection: Off
– MF Assist: Peaking, Red High
– Interlock Spot AE & Focus Area: On
5. Drive & ISO Settings
Quick adjustments for burst shooting and ISO sensitivity are crucial in street photography. Here’s how I set them up:
– Drive Settings:
– CH (High Burst Speed): 10 FPS
– CL (Low Burst Speed): 5 FPS – ISO Auto Setting 1:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/160
– ISO Auto Setting 2:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/100
6. Function Button Settings
Quick access to essential functions is important for efficient street shooting. Here’s my custom button setup:
– Fn1: Face Detect
– Fn2: AF Mode
– Fn3: Photometry
– Fn4: Film Simulations
– Fn5: White Balance
– AE-L: ISO Auto Setting
Film Simulations for Street Photography
One of the standout features of Fujifilm cameras is their ability to simulate classic film looks. Below are some of my favorite film simulations for street photography.
Kodak Tri-X 400
*Credit: Fuji X Weekly*
– Film Simulation: Acros
– Dynamic Range: DR200
– Grain Effect: Strong, Large
– Color Chrome Effect: Strong
– White Balance: Daylight, +9 Red, -9 Blue
– Highlight: 0
– Shadow: +3
– ISO: 1600 – 12800
This recipe gives you a timeless black-and-white look.
Kodak Ultramax 400
*Credit: Fuji X Weekly*
– Film Simulation: Classic Chrome
– Grain Effect: Strong, Large
– White Balance: Auto, +1 Red, -5 Blue
– Dynamic Range: DR Auto
– Highlight: +1
– Shadow: +1
– Color: +4
Daily Driver
This is my go-to recipe for everyday shooting:
– Film Simulation: Nostalgic Negative
– Grain Effect: Weak, Large
– Color Chrome Effect: Weak
– Dynamic Range: DR400
– Tone Curve: H -2, S +2
– Color: +3
– Sharpness: -4
It balances sharpness and color for consistent, high-quality results.
If you found these settings useful and want to see them in action, don’t miss my latest video, where I show you exactly how I set up my Fuji XT5 for street photography. Whether it’s customizing autofocus or choosing the right film simulation, I cover it all in real-time:
Fuji XT5 street photography best settings: Final thoughts
The Fujifilm XT5 is an amazing camera for street photography, but having the right settings makes all the difference. I hope this guide helps you set up your camera for success.
If you’re like me, you’ve probably been eyeing the Fujifilm X100VI with its stunning image quality and sleek design. But, like many, you might have found it nearly impossible to track one down due to its high demand and limited stock. It’s been a real challenge getting my hands on one, and I know I’m not alone in this struggle.
But here’s some good news: the perfect camera might still be within reach! While waiting for the X100VI to become available can be frustrating, I’ve been diving into the world of alternative cameras that could be just as exciting, if not more so, depending on what you’re looking for.
Imagine discovering a camera that offers innovative features and exceptional performance, all while being in stock and ready to ship. These alternatives might surprise you with their unique capabilities and design, potentially even surpassing the X100VI. Whether you’re seeking those beautiful Fuji film profiles, versatile shooting options, or a fresh take on compact camera design, there’s a whole range of choices out there.
I’ve put together an in-depth YouTube video where I explore some of the best alternatives to the Fujifilm X100VI. In this video, I share my personal insights and experiences with each camera, helping you find a great option that’s available right now.
I’m excited to share these discoveries with you and help you navigate the world of compact cameras. Click the link to watch the video, and let’s find a fantastic camera that’s actually in stock and available today.
Some of these alternatives are smaller, lighter, and even more versatile than the X100VI. The best part? They all offer equal or better image quality, and you can buy them right now.
Happy shooting, and I hope you find a camera that’s perfect for you!
I feel obliged to add a response to my previous article questioning the value of photography in this day and age.
You see, I’m a guy in my 40’s who has been a photographer for close to two decades. Over the years I have struggled with creative block as many creatives do. I have had periods of inactivity, exhaustion and non stop productivity. I have chased Instagram likes as a form of recognition for my work and also deleted all my social media. All this has often lead me to questioning the value of my photography.
A realisation came to me a few weeks ago when shooting a pre nuptial wedding shoot and looking at prints of my daugher. My photography has value in the moments and emotions captured in time. It doesn’t have to be perfect because the emotion that can be evoked when looking back through cherished photos goes deeper than technique, composition etc. Yes, all those things can add to a photo but it is the emotion captured that resonates most with the viewer.
In the past my perfectionism has lead to indecision and inaction and so I now try and live by the mantra of done is better than perfect. When I’m old and looking back on all the photos of my daughter I’ll be grateful to have so many memories, whether they are technically accomlished or not.
As a passionate photographer, I’ve embarked on a journey with the Fujifilm X-T5, a camera that goes beyond just being a tool—it’s a companion that has changed the way I see and feel about photography.
Discovering the Fujifilm X-T5:
From the moment I held the Fujifilm X-T5 in my hands, I knew there was something special about it. Its retro design, reminiscent of classic film cameras, instantly appealed to my aesthetic sensibilities. But it wasn’t just its appearance that drew me in; it was the promise of a photographic experience unlike any other. For me. photography has a soul and my cameras, or at least the best ones also have a soul and evoke emotion. The XT5 with its diminutive size, physical control dials and film simulations inspire me to create.
If you also want to feel that inspiration and are considering purchasing your own XT5 then please consider doing so through my Amazon link. This helps me to continue building this website and feed my family without costing you a penny more.
Embracing Creativity:
One of the most remarkable aspects of the Fujifilm X-T5 is its ability to inspire creativity. With its array of film simulation modes, I found myself exploring new artistic possibilities, each mode imbuing my images with a distinct mood and atmosphere. From the timeless elegance of Classic Chrome to the nostalgic warmth of Classic Neg, every frame became an expression of my creative vision.
Capturing Moments, Embracing Emotions:
What sets the Fujifilm X-T5 apart is its ability to capture not just images, but emotions. The camera’s exceptional image quality and color reproduction breathe life into every photograph, preserving the fleeting moments and emotions that define our lives. Whether it’s the joy of a my daughter’s laughter, the serenity of a sunset, or the intimacy of a candid portrait, the X-T5 elevates ordinary moments into extraordinary memories.
Connecting with the Past, Embracing the Future:
As I continue my journey with the Fujifilm X-T5, I can’t help but feel a deep connection to the rich legacy of photography. With its intuitive controls and tactile feel, the camera pays homage to the craftsmanship of analog cameras while embracing the cutting-edge technology of the digital age. It’s a perfect blend of past and present, reminding me that the true essence of photography lies not in pixels or megapixels, but in the emotions captured within each frame.
Conclusion:
In a world filled with endless distractions, the Fujifilm X-T5 along with a prime lens such as the 35mm f2, serves as a reminder to slow down, appreciate the beauty around me, and capture moments that matter. With its soulful design, unparalleled creativity, and ability to evoke emotions, it has become more than just a camera—it’s a gateway to a world of endless possibilities, where every click of the shutter is an invitation to explore, create, and connect with the world around us.
In this post I’m going to compare the Panasonic GX9 vs Olympus OMD EM5 III vs Fuji Xt30. As you probably know, I’ve shot Panasonic, Olympus and Fuji cameras for years now, going back to the the Panasonic G3, EM5 and X Pro1. I want a compact and lightweight camera that I can use mainly with prime lenses for some projects that I have planned in the Philippines later in the year. The project will be documentary and involve lots of candid portraits as well as some street photography. I plan to use whichever camera I choose with a (35mm equivalent focal lengths) 50mm and 85 ish mm prime lenses as those are my preferred focal lengths for the kind of shooting that I have planned. On the Panasonic and Olympus I shot the Pana-Leica 25mm 1.4,Olympus 45mm 1.2 and Sigma 56mm 1.4 while on the Fuji I paired it with the 35mm 1.4. I had planned on using the 56mm 1.2 as well but in the end couldn’t get hold of one in time for my testing but the AF performance is pretty much on par with the Fuji 35mm lens and having owned the 56mm previously I know how it performs.
Firstly let me say that all the specs are available online so I’m not going to go through them all here. I’ll just talk about those that mattered to me for the project that I have planned. Those being image quality, AF, handling and performance.
While the GX9 and EM5 III uses a 20mp Micro 43 sensor the Fuji XT30 makes use of the larger 26mp APS-C sensor found in the XT3 so it should be a no brainer that the image coming out of the Fuji is better and it performs better when pushing your ISO higher. The thing is that when reading forums on the internet they would lead you to believe that the difference is night and day and this simply is not the case. Yes the Fuji is slightly better once you get up to 3200+ ISO but the differences wont be enough to make or break an image. For me the more interesting question was about the colour each camera produced and I was particularly interested in the Acros black and white profile of the XT30 as a lot of my project will be shot in black and white. Quite frankly I chose the XT30 as one of the most affordable ways to get the Acros profile. In my opinion the image quality produced by all the cameras is good enough for what I had in mind.
Fuji are heralded within the media for being excellent for portraits, skin tones and the Acros profile and in a lot of situations I know why. I love the organic look of the colours coming off the X-Trans sensor and under the right lighting conditions the Acros profile produces some beautiful black and white images. However sometimes the colours can feel just a little flat while the Panasonic and Olympus in my opinion actually produce more pleasing colours more of the time. I am a big fan of the colours that both Panasonic and Olympus cameras put out SOOC. For me they win when shooting colour images but the Fuji does well for black and white work. This is why I bought an XT 30 just for this project. However I like the Fuji and Panasonic black and white rendering equally and it really depends upon the subject and light as to which is better in a given situation.
In terms of handling all the cameras are small, lightweight and discreet. They are quick in use and it is easy to quickly change settings on them. I prefer that the Olympus has a separate door for memory cards and I still prefer the PASM system employed by virtually every camera manufacturer rather than the separate dials for shutter speed employed by Fuji. (note the XT30 has a shutter speed dial which when using most Fuji lenses combines with the Aperture ring to give control over exposure). The XT30 does not have and ISO dial unlike its big brother the XT3.
All the cameras feel well built although I’d have to give the nod to the GX9 and Em5III (although I have heard issues reported around the strength of the tripod plate on the EM5II) as they just feel a little higher quality finish and of course the Em5III is weather sealed.
I had fully expected to love the little Fuji XT30 but there were 2 major issues for me once I had a little time with the camera. Firstly, I wanted to shoot the 35mm 1.4 and 56mm 1.2 for my project and quite frankly the AF motors on these lenses still proved to be pretty poor. I had hoped that with the latest generation of camera bodies the AF when using these lenses would have improved but unfortunately (and this is no fault of the XT30’s) it hasn’t. Now I know that a lot of Fuji users love these lenses and in terms of their image quality, yes they are gems but the problem I had while testing the gear out (on not very trying subjects) was that it took multiple shot to get perfect focus. No, it wasn’t a bad copy of the lens, this is exactly how I remember my previous version being as well. I guess it is my own fault for hoping for an improvement that simply can’t be provided by a newer camera. These lenses desperately need updating and I really hope Fuji is working on this as their more modern lenses perform much faster. However it is these lenses that I particularly wanted to use. I’m not interested in the f/2 primes as I’m giving up some of the benefits of that APS-C sensor when shooting with them. In all honesty I like the ergonomics and handling of the EM5 III the most, so unless the XT30 is going to give me tangible benefits (which it would if these lenses auto focussed quickly enough) over it then I’m not going to choose it. The EM5 III is simply more fun and gives me more confidence that I can nail the focus every time.
Fuji Acros ISO 4000
While the Fuji XT-30 does offer slightly improved High ISO performance the differences are minimal and I’d still place my limit of acceptable IQ for portraits at ISO 3200, exactly the same as the Micro 43 cameras.
Olympus EM5III Monochrome + Green filter , ISO 2000GX9 , L Monochrome Pofile, ISO 200
The second major issue (and one which even had me and my wife spend and evening trying to figure out) was the Fuji App to transfer images to your mobile device. I have used this app before, along with the ones form every other major camera manufacturer (except Canon). The best ones are from Olympus and Panasonic, Sony’s is fine too and Nikon’s although temperamental usually works. Well this Fuji App is a complete and utter bag of S**t. I spent hours trying to get it to connect to my phone, my wifes phone, my tablet and in the end gave up. When I’m out in the middle of nowhere taking photos and I want to quickly transfer some images then this is a big no no for Fuji. I didn’t previously have this issue when I owned the XT2 so I can only assume that the updated app is either useless, has compatibility issues or it’s the XT30’s fault. Either way in the end no matter how beautiful the Acros black and white images were, far too many were out of focus and when they were in focus the app made viewing them on my mobile device impossible. The Fuji is sadly out of the race and has been sent back.. As you saw in my Olympus OMD EM5 III Review this camera does everything that 90% of people will need it to do with no fuss. It makes photography easy and fun and dare I say it, quite cool too.
However I already own the Panasonic GX9 and a GH5 so is the Olympus at approximatley £1000 twice as good as the Panasonic GX9 which can be had for under £500 (as of early 2020)?
In the Olympus’ favour it has slightly better IBIS, is weather sealed, has a better viewfinder and offers Hi Res mode as well as the useful long exposure modes such as Live Bulb and Live view. In the Panasonic’s favour for me is the fact that it uses the same menu system and has the same colour profile as my existing GH5 and so using the two together would be a more seemless experience and mean my lazy ass doesn’t have to memorise two menu systems. It is of course half the price.
When I wrote my Olympus EM5III review it was before the Coronoavirus Pandemic had really hit the UK hard. Money and business was quite good and I could afford the additional cost of the EM5III over the GX9. However as I sit here writing this (early April) the UK economy has basically shut down, business has dried up and I am now putting a much higher priority on bang for buck to ensure that I get the most out of any investment that I make in to a camera or system. This puts cost way higher up my list of priorities than would previously have been the case and I’m sure like many photographers out there I am now really asking myself the question, do I honestly need these extra features and are they really going to make a difference to my work and earning potential.
For me, in the end it comes down to the image I can produce. Yes it is nice to have the better viewfinder but the one in the GX9 does not hinder me from getting the shot. I also quite like the tilt mechanism on it. Yes, hi res mode would be nice to have and I can see myself using it quite a lot for landscapes but the projects that I have lined up will be fine with 20mp of resolution. Am I going to suddenly start doing a lot of long exposure photography to make use of live bulb and live view…..If I’m bluntly honest with myself then no, that just isn’t going to happen.
Does my camera need to be weather sealed? Well a lot of us like to kid ourselves that a certain specification is an absolute must. I hear people all the time saying that weather sealing is absolutely essential. I don’t buy it for the most part. I used to live in the Outer hebrides, a place where the weather could not be more challenging to a photographer. My cameras back then didn’t offer top notch weather sealing and you know what I did when the heavens opened… I popped my camera back in my camera bag and waited for the torrential wind blasted downpour to pass. Just before and just after the storm is the best time to photograph anyway not during it. Even if the cameras were weather sealed like a tank the front element of the lens woud be covered in rain and ruin any image. The philippinnes, just like the Outer Hebrides is prone to sudden torrential downpours but for the subjects that I plan on shooting it is irrelevant as I doubt many portrait subjects will be willing to stand out in the rain while I photograph them. Long story short, weather sealing is nice to have but not essential for me.
Both the GX9 and EM5 III have fast enough AF speed for my needs. Yes the Olympus may be a little better at tracking thanks to its phase detect Af points but it doesn’t make a difference for what I shoot as the GX9 is quick to focus and has decent face and eye detect AF.
Conclusion
The crux of the matter comes down to which camera offers the features that I need in the cheapest package and this is where the GX9 delivers in spades. IMO it is probably the best value camera in the photographic universe at the moment.
In terms of output it is virtually identical to the Olympus EM5 III however it actually bests it in my opinion in one area that is vital to my project. The black and white profiles of the latest generation of Panasonic cameras and in particular L Monochrome D is just about my favourite black and white profile of any camera.
Despite wanting the Fuji XT30’s black and white output the |fuji sytem currently has too many compromises to work for me (Slow AF, No IBIS, Poor Wifi App, No PASM). Despite quite liking a lot of the EM5III features I don’t really need them. My Panasonic GX9 takes beautiful black and white images (particularly in the L Mono and L Mono D profile) and offers everything that I need in a small lightweight package. It doesn’t hurt that it looks beautiful too. So I’ll be using it alongside my GH5 for my projects this year.
I’ve been testing them out for a while now shooting portraits, street photography and a few landscapes too.
This weekend I was asked to photograph a wedding here in the Philippines and I thought it would be a great chance to test these three cameras against each other in a fast paced, unforgiving environment.
Now I’m not a professional wedding shooter. I’ve shot landscapes, portraits and commercial work professionally but wedding photography is a whole different ball game. I made it clear what the couple could expect from me and that they really should hire a pro wedding photographer. However budget was a concern and so I offered to help out as they are friends of my Fiancée.
I also wouldn’t recommend shooting a wedding with a bunch of different cameras as it was really hard work switching between three systems and still trying to get shots of the couple’s big day.
I shot all cameras with prime lenses.
For the Fuji I used the 23mm f/1.4 and 90mm f/2. On the Pen F I had the 17mm f/1.8 and 45mm f/1.8. On the Nikon I mainly used the Nikon 50mm f/1.4 and the 20mm f/1.8.
Fuji XT2
Handling
In terms of handling I found all three to be well suited to fast paced shooting where you don’t get a second chance to capture the shot. The Nikon feels solid and well-built but you do start to feel the weight after a full day. I’m writing this article up 2 days later and my arm still feels a little sore so less weight is always better in my eyes as long as I don’t feel I’m compromising on image quality too much.
The Pen F is fantastic for blending in to the crowd and not intimidating subjects thanks to its small size and beautiful looks. Although as the only foreigner at a Filipino wedding it’s pretty much impossible to blend in despite the Pen F’s best efforts.
The Olympus Pen F also offers a fully articulating touch screen and touch to focus which is great for getting shots at interesting angles.
The Fuji XT2 was and is my favourite camera to handle of the 3 because it offers quick access to ISO, shutter speed and aperture via external dials. When you’re trying to photograph constantly changing and moving subjects it’s great to be able to see and change your settings as you bring the camera up to your eye. I can’t tell you how great the Fuji is for that reason alone.
The Nikon feels the most like a workhorse and it certainly is fast to use and solidly built. However during the ceremony I was aware of its louder shutter going off and I opted to use the more discreet Pen F and Fuji XT2 a lot of the time. That’s one of the major benefits of shooting mirrorless. The mechanical shutters are quieter and they have the option to use a totally silent electronic shutter. The Nikon D7200 does have a quiet mode but it’s not that quiet and it slows the camera down.
Some people deride Micro 4/3 because of the smaller sensor but I really don’t think these people use the cameras in the real World. I’ve shot loads of photos with all three of these cameras and as you can see in this article the difference in image quality between M4/3 and APS-C is very small now.
Olympus Pen F
The only real benefit I see to larger sensors is the ability to create more shallow depth of field and the better high ISO noise performance but you only really see a big difference when you jump up to full frame.
Image quality from all three cameras is superb and certainly good enough for professional work. Of the three I prefer people images from the Fuji XT2 because at high ISO’s it does have slightly less noise than the other two. Just be sure to turn down in camera noise reduction to -4 otherwise any Jpegs you shoot will make your images look like mush. I shot raw at the wedding to give a little more leeway to edit the photos later on so it wasn’t a problem.
I also appreciate the ability to throw the background out of focus a little more than you can with the Pen F. This was especially useful as the locations I was shooting at didn’t always have pleasing backgrounds, in fact some would have quite easily ruined shots had the background been in focus. Obviously the new Olympus 25mm f/1.2 Pro gives us micro 4/3 users a great choice for shallow depth of field shots but I don’t have that lens yet despite it being on my Christmas list.
I had planned on shooting a Nikon D750 at the wedding too but thanks to the postal system here it didn’t arrive in time. I’ll be comparing it with the others once I get my hands on it.
For me the most important aspect of the cameras on the day was auto focus performance. This is where the mirrorless cameras actually kicked the DSLR’s butt. Yes, I know this is where DSLR’s still reign supreme according to most but in reality both the Pen F and Fuji XT2 focus really quickly and only slow down a touch in bad light. They lock on fast and when they give focus confirmation you can be sure you got the shot.
Olympus Pen F
What I found frustrating with the Nikon D7200 when reviewing the photos after was the amount that were out of focus. It just isn’t as accurate to focus as the mirrorless bodies. It may be a millisecond faster but what’s the point if focus isn’t spot on.
The Nikon 50mm f/1.4 is not sharp until you stop it down so the benefit of a larger aperture is lost. Whereas the Fuji 23mm f/1.4 and 90mm f/2 are sharp wide open and combined with the more accurate focus of the XT2 gave a far higher hit rate. The 17mm and 45mm on the Pen F are both perfectly sharp too.
The Pen F in my opinion has the best S-AF of the three cameras as it is quick, silent and deadly accurate. The only down side to the Pen F is that you don’t have direct access to change AF points. Instead you need to press the left D-pad button and then press one of the direction buttons to move the focus point around. It’s only when you are shooting something like a wedding that you notice this tiny delay but it does make a difference occasionally.
I also can’t overstate how useful I find an electronic viewfinder in my photography. I love the WYSIWYG nature of EVFs. It is so much better to use as you don’t need to take a shot then chimp on the LCD screen after to check it. For me the constant chimping needed on DSLR’s does ruin your flow and gets irritating after a while. With the large EVFs on the Pen F and particularly the Fuji XT2 I could quickly change to Acros or the Pen F’s black and white modes and see what my shot would look like in black and white. It also showed me whether the exposure was correct and if focus was spot on.
Nikon D7200
So which one would I choose if I had to do it all again?
Before I shot this wedding I have to be honest and say that I had a preconception that although I prefer mirrorless cameras for personal use, I would in fact find that the DSLR was still better when it comes to Professional use in a fast paced environment like a wedding.
Well, I was wrong. For me mirrorless cameras have caught up and in fact overtaken DSLR’s in every area that matters and if I was buying just one camera now it would be mirrorless and it would be from Olympus or Fuji.
If I could only have one of these cameras and I thought I may be shooting further weddings then it would be the Fuji XT2 because of the external control dials, slightly better high ISO performance, ability to deliver more shallow depth of field and fast accurate AF performance. I also happen to think the Fuji lens line-up is fantastic. Mind you, so are the micro 4/3 lenses.
If I was buying one camera just for personal use it would be the Olympus Pen F all day long. It is simply beautiful and a joy to use. Lightweight, great AF, excellent image quality and I haven’t even mentioned how much fun the colour dial is for black and white photography. That’s the camera I take with me when I go out with family and friends.
Olympus Pen F
If you are going to shoot a Nikon I’d opt to jump up to full frame because the DX lens line-up is pathetic. The Nikon bodies are very good but I just prefer using mirrorless cameras these days and with the Fuji XT2 the AF is now quick enough to do its job.
If I was shooting another wedding with a Fuji XT2 I’d be buying a lot of spare batteries though as I fully drained 2 before the reception had finished. In fact I would buy the VPB-XT2 grip so you don’t have to worry about battery changes.
The Nikon D7200 after a full day was still showing 80% remaining and the Pen F about 40%. I took roughly the same number of shots with each Camera. That’s the only benefit the Nikon had over the others.
I must admit that I was quite excited for this Fuji XT2 review. Partly that was down to my love hate relationship with the XT1. That was a camera I loved the concept of and indeed it had many great features such as external dials for aperture, shutter speed and ISO, a huge viewfinder and great image quality. However there were a few aspects that made me begrudgingly sell it. The focus still wasn’t quite as good as it needed to be and other cameras offered more features at that time. See my XT1 vs Olympus EM1 video for more on that.
My excitement was also aroused due to the internet buzz over the improvements made to the X-Pro2 and indeed the early noise coming out from Fuji XT2 reviews.
Before we go any further I would just like to remind you that if you find this review helpful then please shop using my Amazon links. It wont cost you an extra penny but it does help to support my work here. Absolutely anything that you buy through my links, even groceries helps me to keep adding to the website. A huge thank you for those who use the links.
As you can see from the list Fuji pulled out all the stops here to create a true flagship camera that has improvements across the board. The new 24mp sensor, a bump of 50% from the older generation 16mp sensors is a welcome addition and brings it in line with the competition.
Fuji clearly want to take the video market more seriously with 4K output and they have listened to feedback from photographers in nearly every department and worked to improve on what they already had with the XT1.
Fuji XT2 Review – Handling
The XT2 is slightly larger than the XT1 at 133x92x49.2mm and also 67 grams heavier. In the hand this makes the XT2 very comfortable to hold, offering good grip and a little more space to work with when using the controls.
I always felt the XT1 was a good camera but in need of a few improvements and the XT2 has come up trumps here, offering a little more room to work with and a more robust feel than its predecessor.
The front grip is slightly more pronounced on the XT2 and fits perfectly in my hand.
The first and most noticeable addition is the new AF Joystick which allows you to easily re-position your selected AF point directly with just the a flick of the controls. It works seamlessly and really speeds things up when you need to quickly select or change your focus point. This has the added benefit of freeing up the D-pad direction buttons to use as custom function buttons.
The New AF joystick located below the Q menu button
The Fuji XT2’s magnesium alloy shell is fully weather sealed (when combined with Fuji WR lenses such as the 90mm f/2) down to -10 Celsius, having 63 points of sealing. The VPB-XT2 grip is sealed to the same level. I’ve been caught out with my XT2 + 90mm f/2 in torrential downpours and it dealt with them rather better than I did.
One of the features that draws many photographers to the Fuji X-Series of cameras and especially the XT1 and 2 is the retro style control dials.
The Fuji XT2 retains the shutter speed dial although now it offers a 1/8000 maximum shutter speed. This is a particularly welcome feature for those wishing to shoot with fast aperture primes in bright light.
The XT2 also has a physical ISO dial with a range up to 12800 ISO + the H (high ISO options set in menu of 25600 or 51200)
One of the major handling improvements I’ve found with the XT2 is that Fuji have now changed the ISO locking mechanism to a push ball point style button. Now you press to lock and press again to unlock. This is vastly more usable than the one on the XT1 where you had to press and hold it to unlock the dial every time you wanted to change ISO.
The dials are also slightly taller and better damped which makes them much easier to change quickly. They are now what I would consider as close to perfect as you can get. In fact they’re so good that I don’t think about them. That’s a good thing as they simply do their job and don’t hinder the shooting experience at all.
The addition of dual memory card slots will be appreciated by everyone but in particular by pros because it gives the option to have an overflow, backup, or to shoot raw to one and Jpeg to the other. Both slots are UHS-II ready (unlike the X-Pro2) so you can stick a fast SD card in both and keep on shooting as I have.
You can get the same memory cards that I used from Amazon UK
and Amazon.com for international readers
Dual SD card slots, both UHS II compatible
Fujifilm have also attended to one of my gripes on the XT1, namely the flimsy memory card door. It is now much more robust and features a small lock so that you no longer accidentally open it in use. The little flick lock is easy to operate so doesn’t hinder you when you want to access your memory cards.
Locking mechanism and better build quality are appreciated on the memory card door.
The exposure compensation dial is well damped and in my time using it has never been knocked while getting it in and out of my bag. It doesn’t feature a lock unlike the shutter speed and ISO dials but it doesn’t seem to need one. It offers +-3ev of compensation with the addition of a C position which extends this to +-5 ev.
The Fuji XT2 retains the front finger and rear thumb control dials but they now include push to click functionality taken from the X-Pro 2.
The rear D-pad buttons protrude away from the surface a little further than on the XT1 and feel much more responsive in use. No more squidgy buttons here.
The video record button has been removed and replaced with a dedicated video position on the drive dial (Located around the base of the ISO dial). The options on the drive dial are now Movie, Bracketing, Continuous High, Continuous Low, Single frame, Multiple Exposure, Advanced Filter (effects), and Panorama.
The Fuji XT2 offers several metering modes which are changed with a second dial around the base of the shutter speed dial. Spot metering is taken from the centre 2% of the image frame, centre weighted which adds increased importance to subjects in the centre of the frame, multi and average. For most circumstances multi metering does a good job although I often switch to centre weighted when shooting portraits, particularly against a bright background.
I found the XT2 to under expose slightly in some circumstances but it’s so easy to add a touch of exposure compensation via the dedicated dial that it wasn’t really an issue. Just something to be aware of.
[UPDATE] This feature is offered. I missed it but found it while playing with the cameras menu system. Thanks to Eric who also pointed this out.
It would be nice if Fuji would offer the option of linking spot metering to the AF point in use as this can be really useful for shooting portraits off centre and for shots such as birds in flight against bright skies.
The XT2 also includes bracketing options for exposure, ISO, film simulation, white balance and dynamic range. Exposure bracketing is inexplicably limited to only 3 frames though which will be a serious gripe for those interested in HDR photography. I’m sure Fuji could increase this via firmware and I suggest that they do. Adding the option to bracket up to 7 frames would seriously increase this cameras appeal to HDR photographers.
There are 8 special effects filters which I have never used but for those interested they are Toy Camera, Miniature, Pop Colour, High Key, Low Key, Dynamic Tone, Soft Focus and Partial Colour. The effects don’t work when shooting video of course but they also don’t work if you are shooting raw and Jpeg.
More interesting I suspect to the vast majority of photographers is the addition of the Acros film simulation along with the ability to add red, yellow and green colour filters as well as grain in two strengths. I’ll take a more in depth look at this in the image quality section below.
In addition to Acros we also have the standard film simulations of Provia (standard colour) , Velvia (more saturated) , Astia (A little softer in colour than standard and nice for outdoor portraits), Pro Neg standard, Pro Neg Hi (Give nice skin tones Hi offering a little more contrast), Classic Chrome (muted colours for a retro look) and Monochrome with the ability to add red, green and yellow filters.
Classic Chrome is still a favourite.
Out of these filters I find myself mainly using Astia for outdoor portraits, Classic Chrome when I want a more subdued vintage look to shots, Pro Neg Standard and Hi when shooting portraits both in and outdoors depending on the look I want. If I want a black and white image I always use Acros now as it delivers beautiful contrast without blowing highlights and blocking shadows. The smooth tones of the new simulation are rich and very, very pleasing but more on that later.
The Fuji XT2 also offers an interval timer to shoot up to 999 images at intervals of between 1 second and 24 hours.
Viewfinder and LCD Screen
The Fuji XT2 retains the same excellent 2.36million dot viewfinder as the XT1. Offering 1024 x 768 resolution with a large 0.77x magnification. Compared with its rivals the XT2 viewfinder offers a huge view and is certainly one of the selling points of this camera for me.
An excellent feature carried over from the XT1 is that when shooting in portrait orientation all the shooting information is rotated so it is easily legible. A great feature and one which I’m not sure why other manufacturers have not implemented on their models.
There is also an option to show a slightly smaller image along with a second image to the right giving a highly magnified view with focus aids such as peaking and split screen simulation. I must admit though that I don’t use this feature as I prefer to keep the immersive large display intact.
The viewfinder has a vast number of display and overlay options which enable you to set it up with the information that is most important to you. It offers a level gauge although unlike Olympus and other models it is only a single axis level.
The viewfinder is now twice as bright as the XT1 which is perfect when shooting on bright sunny days as I have been recently. The refresh rate remains around the same at 60fps vs 54 fps on the XT1 but you now have the option to use boost mode on the XT2 to increase this to 100FPS. This is particularly useful when shooting fast moving subjects and firing off a burst of shots.
I’ve found that while there is still a little lag when tracking fast moving subjects it is now pretty minimal and I have no problem keeping up with the action when using boost mode.
The viewfinder eyepiece is now larger and keeps out stray light effectively.
Overall I’d say the Fuji XT2’s electronic viewfinder is the best on the market. It’s a joy to use.
LCD screen.
The LCD screen on the XT2 looks virtually unchanged at first glance. It remains a 3″ 1040 unit and unfortunately Fuji have again decided not to add a touch screen. Particularity with the addition of 4K video on the XT2 it would have been great to have a touch screen in order to easily be able to pull focus when shooting video.
However Fuji have implemented an ingenious design to allow shooting at varying angles in portrait orientation. As well as being able to tilt vertically there is an additional hinge that allows the screen to flip out horizontally. It’s a great bit of design and one that adds to the usability of the camera in more situations. For some reason the shooting information doesn’t rotate to match the shooting orientation unlike when using the viewfinder.
One issue I have on my XT2 and one that has been reported by a number of other users is that when switching on the camera both the viewfinder and LCD white out for several seconds before the exposure seems to adjust and display correctly. I’m hoping Fuji attends to this in a firmware update. In fact, knowing Fuji I’m almost certain they will as they are the best in the industry for adding fixes and improvements via firmware updates.
Fuji have implemented a new menu system on the XT2 which overall is a little more user friendly. Being a long time Fuji X user it has taken me a little while to get used to it but now that I have it is more intuitive and makes more sense. The new menu layout is tabbed and with the XT2 offers an AF specific tab, highlighting the cameras aspiration to become a workhorse of pro sports and nature photographers. I’ll talk more about this and the AF performance further on. One small gripe is that it doesn’t always remember your last location in the menu. So for example, I format memory card one, it then takes me out of the menu and I have to go back in, re-locate the format option and repeat for slot 2. It would be better if once card 1 is formatted it just kicked me out to the same sub menu so I can quickly format card 2.
The Fuji XT2 is well connected, now with a separate 2.5mm remote jack and thankfully a common 3.5mm microphone socket. There is also an HDMI port and a faster USB3 port too. The XT2 can output uncompressed 4.2.2 8bit 4k video externally although internally this is reduced to 1080p.
WiFi options remain essentially the same as the latest X Series models. It uses the same app and offers the same features. There is no NFC or Bluetooth available.
The XT2 uses the new NP-W126 battery which retains the same power specs but apparently deals with heat better. Presumably this is necessary when shooting 4k video. The older XT1 batteries will still work but just make sure to check for overheating issues if shooting 4k video. The battery door on the XT2 now feels more sturdy and has a reassuring feel to it when opening and closing.
What is new on the XT2 is the ability to charge it via USB which is great, if like me you have a number of different cameras and travel a lot. No more lugging all the various chargers with you. It is still supplied with an AC charger though unlike some Sony’s I have purchased in the past.
The VPB-XT2 battery grip offers a number of additional features which I shall quickly list here. For my Fuji XT2 review I did not purchase the battery grip so can’t really comment on them.
Increases shooting speed to 11 FPS
Reduces shutter lag
Adds headphone jack
Increases 4k shooting time from 10 to 30 minutes
Takes 2 additional batteries.
Adds AC power so you can shoot even without batteries
The VPB-XT2 is more than just your standard battery grip and I will probably purchase it in the future when funds allow. I’m getting married in a few months time so I can’t justify it right now.
Amazon.com link
Amazon UK link
Overall Fuji has addressed every single one of my issues in terms of handling that I had with the XT1. It feels better made, the dials are much more user friendly and there are no little things that bug me. Ergonomically I’d say Fuji have made the perfect camera with the XT2. I absolutely love using it. I previously always found using a PASM dial and control wheels to be faster than the external dials of the Fuji system. However with the XT2 that has changed. The extra depth of the ISO, shutter speed and exposure compensation dials give just the right feedback to be able to change them quickly and easily. The revised ball point pen style locking mechanisms are so much better and the slight increase in overall size mean that this camera handles superbly. I actually can’t think of anything that I would change in terms of ergonomics. Oh yes I can, just add a touch screen Fuji and then the XT2 would be perfect.
Fuji XT2 Review – Auto Focus
I got the Fuji XT2 with super high hopes for the auto focus system, mainly because of the hype that I had heard on the internet about it being incredible, amazing, lightening quick etc.
The XT2 now sports 325 auto focus points (you can select to only use 91 if you wish), including 169 phase detect points. The area covered by the phase detect AF points is significantly larger than on previous models so tracking subjects becomes much easier. The XT2 also offers Zone and Wide AF tracking modes which use a portion of the AF points to keep your subject within them.
In Zone AF the autofocus area becomes a square measuring 3×3, 5×5 or 7×7 points. You can adjust its position using the AF joystick or cross keys. If you are using S-AF mode you can choose from a 13×7 array, or in C-AF, the smaller 7×7 square.
First lets start by talking about the AF speed in S-AF mode because that is probably what a lot of us use most of the time.
I intentionally shot the XT2 with an older 23mm f/1.4 and a more recent 90mm f/2 because I am aware that if I only used older lenses then any criticism of the XT2’s auto focus would be blamed on the older lens design.
I can say now that the Fuji XT2 auto focuses faster than any other X series camera that I have tried. It is faster to focus and lock on than the XT1.
When shooting in good light it is very quick to focus and very accurate too. Using the new AF joystick combined with the additional focus points available you can easily adjust your AF point and for example, highlight the one over your subjects eyes.
Speaking of eyes, the XT2 offers face detect AF and eye detect AF with the ability to select left or right eye. I have found this to work very well in practice although I still slightly prefer Olympus’ system. The Face and Eye detect AF can be overridden manually by selecting your AF point with the joystick. Something which wasn’t available when I tested the XT1. Face detection is not available in C-AF mode though as it only uses contrast detect AF.
In the menu system you can select your priority between focus and release and have it set separately for S-AF and C-AF. For S-AF I always have this set to focus priority.
The auto focus is fast but it is still not quite as quick as my Olympus Pen F which is instant. The XT2 is quick but on occasion when using older lenses such as the 23mm f/1.4 it can hesitate for just a fraction of a second. However when using the 90mm f/2 it was noticeably faster.
In general it is fast enough for almost any purpose. Capturing photos of your children who wont keep still for a second will not be a problem for the XT2.
Tracking performance on the Fuji XT2 is where I found the greatest improvement. In comparison to the XT1 the XT2’s tracking performance is excellent. It is quick to pick up the subject, almost always selects the correct subject (especially if you select the suddenly appearing subjects option as below) and once locked on it gave me the highest hit rate of any camera that I’ve tested so far and that includes my Nikon D7200.
What’s new with the Fuji XT2 is the ability to select between a number of different tracking profiles to suit your subject. These profiles alter the sensitivity and speed of the XT2’s auto focus. The profiles available are Multi-Purpose, Ignore Obstacles, Accelerating / Decelerating Subjects, Suddenly Appearing Subjects, and Erratic Motion. This feature is normally found on high end DSLR’s aimed at pro sports photographers so it is great to see Fuji including them here.
The new menu system is intuitive to use.
Turning on boost mode supposedly improves AF performance but in all honesty I found that it didn’t hugely affect AF performance or the hit rate I was getting with the camera.
The buffer depth of the XT2 is good. I was using matching Sandisk Extreme Pro 32gb 280 mb/sec UHS II cards in both slots and when shooting Raw+Jpeg at 8FPS the camera would only start to slow down after about 3 seconds. The buffer then cleared in about a further 3 seconds.
Shooting Fine Jpeg I was able to shoot forever. Shooting Compressed Raw files I was able to capture 34 frames before the camera slowed down.
Overallthe Fuji XT2 has some of the best AF performance you will find in any mirrorless camera. Combine this with the additional tracking AF profiles and it is a very capable camera for almost any use.
Fuji XT2 Review – Image Quality
Classic Chrome
The Fuji XT2 uses the same 24mp X-Trans III sensor found in the X-Pro 2. It increases resolution by 50% over the older 16mp sensors. It also now allows shooting in raw at ISO 100
Resolution
In terms of resolution this allows for greater detail and increased ability to crop your images if required. Wildlife photographers in particular will be delighted with this increase in resolution as you can never have too much reach or ability to crop when shooting animals in the wild.
Where I really notice this is when shooting portraits, the new sensor shows more detail in the eyelashes of a subject. It is also quite noticeable when shooting detailed landscapes. The higher resolution combined with lack of AA filter allows for incredibly sharp images. Combined with the new autofocus system, getting pin sharp images even at large apertures is easy. Don’t forget that thanks to the way mirrorless cameras work there is no need for micro adjustments to the AF system when using different lenses. When your shot is in focus, you can be sure it really is in focus.
What is surprising if you look at the results below is that the Nikon 18-140mm kit lens does surprisingly well when compared with the Fujinon 23mm f/1.4 prime.
Dynamic range
To test dynamic range I set the Fuji XT2, Nikon D7200 and Olympus Pen F up on a tripod. Shooting at all the cameras base ISO settings with the same shutter speed and aperture and in raw.
Fuji XT2 + 23mm f/1.4 @f/4, 1/50, ISO 200Nikon D7200 + 18-140mm @ f/4, 1/50, ISO 100Olympus Pen F + 17mm f/1.8@ f/4, 1/50, ISO 200
There are a couple of interesting things to note here; The Fuji at ISO 200 is a little brighter than the Nikon shot at ISO 100 but darker than the Pen F. This would match my findings that it can sometimes under expose a little. The XT2 seems to prefer to under expose slightly and protect the highlights.
Secondly, when you increase the shadows in Lightroom to the same level as the Olympus Pen F the Fuji retains the detail and doesn’t introduce too much noise. So the detail is still there in the shadows while protecting the highlights.
Fuji XT2 (left) with shadow brightness increased to match the Pen F (right)
Now if we compare it against the Nikon D7200 where I have increased exposure by one stop in Lightroom, effectively giving an ISO 200 image we can see that the Nikon image is brighter at the same settings. There is not much in it though so to me it doesn’t look like Fuji are fudging the numbers anymore, or at least not to any significant degree. The Nikon is exposing the image slightly to the right on the histogram and indeed it shows more clipped highlights than the Fuji file but shows more shadow detail. The Nikon image is also more saturated but when shooting raw it’s not a significant factor as you can easily change the colour.
Fuji XT2 (left) and Nikon D7200
There is some jpeg artifacting in these images so I will upload full resolution samples to Flickr so that you can look in more detail.
From these results I can say that the Fuji XT2’s sensor is right up there with the best performing APS-C sensors on the market. I would also say that at this point, dynamic range and resolution are no longer significant factors when choosing between APS-C and Micro 4/3. All the sensors perform really well at base ISO.
Fuji XT2 Review – ISO performance
I tested the noise performance of the XT2 against the Nikon D7200 and Olympus Pen F.
Firstly I tested all 3 cameras in the same dim light using the same shutter speed, aperture and ISO settings. All shots were taken in Manual mode using a tripod. The light was very dim.
At ISO 1600 the differences between the three cameras are minor. At 3200 we start to see a gap emerging as this is where Micro 4/3 tends to fall behind.
The Fuji starts to show better performance than the Olympus Pen F around 3200 ISO
It also performs a little better than the Nikon D7200
Fuji XT2 (left) vs Nikon D7200 at ISO 3200
At ISO 6400 the Fuji sensor really starts to show better noise handling than the Nikon D7200. Noise is better controlled and finer as you can see below. I’d say it has about 1/2 stop advantage at this point.
At 6400 ISO the Fuji XT2 starts to perform noticeably better than the Nikon D7200 (right)
Finally I shot both cameras at 12800 ISO and at this point the D7200 image starts to break down, I was surprised how well the XT2 handled it. At this point the Fuji XT2 is significantly better than the D7200, by almost a stop. The Pen F at 6400 performs very similarly to the Fuji XT2 at ISO 12800.
Fuji XT2 (left) performs considerably better than the Nikon D7200 at 12800 ISO
So in terms of noise performance the Fuji XT2 has improved on previous generation sensors by around a stop at high ISO’s. This is very impressive considering that they have increased resolution by 50% over the older X-Series models and their ISO settings seem to be more in line with the competition now.
I feel comfortable shooting at ISO 6400 on the XT2 and will go to 12800 if required. Remember these shots are all raw files with no post processing work done on them. They were converted straight to Jpeg in Lightroom (creative cloud version). As I mentioned before I will upload the samples to my flickr account so that you can look in more detail if you wish.
Acros Film Simulation
As I mentioned before one of the additions to the XT2 is the Acros film simulation first seen on the X-Pro2 earlier in the year. I personally find this black and white mode to give beautiful tones with plenty of contrast. In my testing it requires contrasty scenes to really get the best out of it but then high contrast scenes always benefit black and white images.
Below are a few samples. You can see more on the Fuji Acros vs Pen F Tri X page here
Fuji Acros + Yellow filter
Fuji Acros + Green Filter
Video
The XT2 adds the ability to shoot 4k video and for me this is a huge bonus because it was an area where I would previously had to have kept a separate camera just for video. I have only briefly tested it but the quality looks to be excellent with little of the artifacting that we saw from previous Fuji models.
I’ll be testing this further and adding some samples once I have a faster internet connection.
Fuji XT2 Review – Conclusion
Overall Fuji has really pulled out all the stops with the XT2. They have upgraded the sensor giving 50% more resolution yet somehow improved high ISO noise performance. Everything about the camera feels quicker than the XT1, from the menu system through to auto focus performance.
The AF joystick speeds up AF point selection by a huge amount and this combined with accurate face and eye detection means that you rarely miss a shot. S-AF is as quick as anyone needs in real life and tracking performance is among the best I have used.
Yet it is the handling where I feel that the XT2 really shines now, thanks in large part to to all the minor changes that Fujifilm have made to the design. Slightly larger body, more rugged build quality, larger dials, better feeling buttons, better quality memory card and battery doors, dual SD card slots and an intuitive hinged LCD design.
I think Fuji have made the perfect handling camera and it really is a joy to use. I get to use a huge number of cameras and for me the Fuji XT2 feels the best in use. It is quick and easy to control and the image quality is superb, right up there with the best APS-C sensors. The fact that it is also a good looking beast is a bonus.
Apart from the addition of a touch screen LCD I struggle to see how the Fuji XT2 could be improved ergonomically. It seems to have hit the perfect size/weight/performance combination for all my needs.
Fuji have smashed it out of the park with the XT2 in my opinion and judging by the stock delays I think a lot of people agree with me.
I mentioned previously in a post that I wondered whether the XT2 would be enough to tempt me back in to the X-System as my main camera. Well I no longer have to wonder. I shipped off three cameras for sale yesterday and the XT2 wasn’t one of them. I’ll be keeping that and hopefully adding a few more lenses to my bag too.
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