If 2026 brings an X-T6 then I will happily test it out but if it doesn’t then I’m still more than happy to carry on using my X-T5 for another year. It has just featured highly in a recent article on the best cameras for family photography for 2026 and I have no doubt will get a lot of use over the coming year taking more photos of my children and as my main travel camera if I have the energy to travel this year. I recently compared the Fuji X-T5 vs Nikon Zf to see if the retro full frame camera is meaningfully better.

Even after using cameras as diverse as the Fujifilm X100VI, Ricoh GR III/IIIx, OM System and comparing the X-T5 vs the Nikon Z6III — the X-T5 still strikes the best balance I’ve found between performance and portability. It blends physical control dials with speed of use in a way that keeps me reaching for it whenever I want high-quality images without the weight or bulk of larger systems. It’s why it was highly featured in the best interchangeable cameras for travel article that I wrote and one of the reasons why I shoot Fujifilm cameras in the Philippines. It even made it into the best mirrorless cameras article.

I placed my X-T5 preorder back in late 2022, having owned every previous X-T model at one point or another. That doesn’t mean I’ve always loved them all. When the X-T1 was released, I actually chose the Olympus OM-D E-M1 over it. The X-T2, by contrast, really clicked with me — I used it extensively and still look back on it as one of Fuji’s best. I bought the X-T3 but ended up returning it; while many rave about that camera, I personally preferred other options at the time. I did own the X-T4, but more often reached for my X-Pro3 for photography, as I felt the X-T4 leaned too heavily into being a hybrid camera rather than the stills-focused tool I wanted.

That history is exactly why the X-T5 caught my attention so quickly. It felt like a return to Fuji’s photographic roots: a smaller, more refined body, a renewed focus on stills rather than video, and the introduction of the new 40-megapixel sensor — the same one found in the X-H2, but without the video-centric body design I didn’t want. Just as important was the inclusion of the three-way tilt LCD screen, which for me marked a deliberate move back toward photographer-first usability, rather than a fully articulated screen aimed at hybrid creators. With the added promise of faster autofocus and in-body image stabilization, I didn’t hesitate to hit the preorder button.

This is not a quick impressions piece. I’ve now owned the X-T5 for over two years, and in that time it has been my main and most-used camera. For context, I’ve owned and sold the Sony A7 IV in the same period, and I currently use cameras across Micro Four Thirds, full-frame, and medium format systems. Yet despite that breadth of gear, the X-T5 has remained the camera I instinctively reach for most often — a telling measure of just how well it fits both my photography and my life. And if you’re curious about which glass really makes the most of it, I’ve put together my best Fujifilm X-T5 lenses guide with simple 1-, 2-, and 3-lens setups that work in the real world. I also have various lens comparisons on the site like the Fuji 18mm 1.4 vs 23mm 1.4 one here and reviews such as this review of the Fuji 56mm 1.2WR lens and Fuji 23mm f2.

Design and Handling

The size of the X-T5 is one of the main reasons it works so well as my primary camera. Paired with one of Fuji’s compact f/2 primes, it feels like an addition to a trip rather than something that makes the trip revolve around photography. That’s important: it means I regularly bring it along on family days out and travel, where larger systems might stay at home. Yet once I add my SmallRig L grip extension and mount one of the premium f/1.2 or f/1.4 primes, the camera transforms into a lightweight pro body that can handle anything I throw at it. See the best accessories for the Fuji X-T5 here. Unfortunately Fuji don’t offer an official battery grip for the X-T5 and there are no connectors at the bottom of the camera, so the best option that I have found is the Smallrig Grip. The X-T5 is lighter than my OM-1 Mark II and substantially lighter than the Nikon Z6 III, and the difference is immediately noticeable. Just this morning I was shooting with the Nikon Z8 and 50mm f/1.8, then picked up the X-T5 straight after. It felt so featherweight that I actually checked the battery compartment to see if it was empty — it wasn’t. Even after all this time, the X-T5 continues to surprise and delight me. Only last night I was shooting for my Fuji XF 18mm f/1.4WR lens review and was blown away with the results.

Everyone talks about Fuji’s physical control dials, and for the type of shooting I do — travel, family, documentary — I genuinely appreciate them. The X-T5 retains the physical ISO and shutter speed dials with the drive dial sat on a separate ring below the ISO dial. It is not lockable and can very occassionally get moved. A push to move mechanism would be a small and subtle improvement here. Below the shutter speed dial is a separate switch to move between stills and movie mode. That’s about as much information as i’ll go into on the video features of the X-T5 in this review. The ISO and shutter dials have proper locking mechanisms that can be clicked in or out, which I prefer to the push-and-hold style used by some other brands. With 1/3-stop increments on the ISO dial and full-stop increments on the shutter speed dial, I can quickly set exposure and see my settings at a glance. Let’s be honest though: they also look fantastic, and they deliver a shooting experience that feels different from the PASM dials found on most modern mirrorless cameras. That’s part of the X-T5’s charm. If absolute efficiency and speed are your only concern, PASM is quicker in my experience. But for me, the tactile control dials add real value to the experience.

After more than two years of heavy use, I’ve found the build quality excellent. The X-T5 may no longer be made in Japan, but I’ve noticed no drop in quality compared to previous generations. It feels light in the hand but avoids the hollow feeling that put me off the X-T1 years ago — instead it’s dense and solid. The ISO and shutter speed dials are fairly easy to move, but thanks to the locks it’s a non-issue. The shutter button doesn’t protrude much, which takes getting used to, but a SmallRig soft shutter release has lived on mine since early on and solved that instantly. The exposure compensation dial, though not lockable, is stiffer and recessed enough to avoid frequent knocks, though I do double-check it when pulling the camera out of a bag. The memory card door is secured with a positive latch, and the port covers are hinged doors rather than flimsy rubber flaps — a small but meaningful detail. Buttons protrude just enough to find by feel, and overall the camera feels well thought-out and built to last.

The EVF is the same 3.69M-dot OLED unit from the X-T4 but with a slightly improved 0.8x magnification. I can’t tell any difference. Yes, competitors like OM System and Nikon have moved on to higher resolutions, but I still find the X-T5’s viewfinder sharp and clear enough for my needs, including manual focus. There is a little graininess in very low light but it’s acceptable. If you want a better viewfinder then you will have to move up to the X-H2 and X-H2s. A few years ago this EVF was considered one of the best, and while the bar has been raised, that doesn’t suddenly make it bad.

The rear LCD is bright and crisp, but the real story is the return of the three-way tilt screen, replacing the fully articulating version from the X-T4. For stills shooters, this is a win. The tilt design allows discreet hip-level shots, easy high- and low-angle work, and flexibility in portrait orientation, all without the awkwardness of a side-hinged screen. For me, it’s the perfect balance of versatility and photography-first usability.

Perhaps the strongest point of the X-T5 is balance. With the small “Fujicron” primes (23mm, 35mm, 50mm f/2), it feels like a stealthy little powerhouse — light, discreet, and capable. Add the premium primes or small zooms, and with the L-grip it turns into an all-day comfortable setup that feels at home in professional use. Even without the grip, it’s fine with heavier lenses, but the extra depth makes a noticeable difference over long shooting days. In many ways the X-T5 feels modular: a compact, travel-ready body when stripped down, or a flexible workhorse with just a couple of thoughtful accessories. Combined with the APS-C format — offering slightly better image quality than Micro Four Thirds while keeping weight below a full-frame setup — it hits a sweet spot that few other systems manage. If you are considering which lenses to get for your X-T5, these are the best Fuji lenses available.

Image Quality

A headline upgrade with the X-T5 is its new X-Trans 5 processor and 40MP APS-C sensor. On paper, the jump from the older 26MP sensors is one of the most significant reasons to consider upgrading. But does it really make a difference in practice?

Here’s my honest take, as someone who owns and prints large on a 44″ Canon Pro 4100 printer. The extra resolution does give more detail and flexibility. It allows more cropping headroom while still retaining enough quality to make a meaningful difference. Personally, I try to get my framing right in-camera and don’t crop heavily, but for those who do, the X-T5 is a real step up.

What impressed me even more, though, is that this increase in resolution hasn’t come at the cost of high ISO performance in any meaningful way. I’ve seen plenty of complaints online about the X-T5’s low-light results — and I’ve even had readers comment on it here — but in my real-world use, the camera can produce printable results up to ISO 12,800. ISO 6400 looks very good, and ISO 3200 is so clean that it’s not even a question mark anymore. Do I think 40MP is essential or worth upgrading for on its own? Absolutely not. I’d have been perfectly happy with 26MP, but I also won’t complain about the excellent quality this new sensor delivers.

Before / After (hover or tap)

Unedited image

Quick edit: pulled highlights down, warmed WB slightly

Dynamic range is solid, if not class-leading. Compared to my GFX100S and Nikon Z-series cameras, the X-T5 falls a little short, but unless your exposure is three or more stops off, there’s plenty of room to recover shadows without excessive noise, and enough highlight recovery to cover most situations.

For landscape shooters, bracketing is still the best solution when the scene demands more range. Where the X-T5 shines for me is in the tonality of its files. Compared to something like my OM-1 Mark II, the images from the X-T5 look less digital, less clinical. They’re sharp and clean, but they have a quality that feels less sterile and more natural. The color and tonal rendering is among the best of any camera I’ve used, rivaled only by the GFX and Nikon Z systems, which deliver a slightly different but equally appealing look.

Fuji’s JPEG engine is famously strong, and early on I shot a lot of RAW + JPEG, often finding little reason to improve on the straight-out-of-camera files. The X-T5 includes Reala Ace which is a nice film simulation but after an initial play with it, I’ve stuck with my standard Classic Chrome for most shots. Over time, I’ve gone back to shooting mostly RAW for the flexibility of future editing. Lightroom now handles X-Trans files well, and with the built-in film simulations, masking tools, and white balance controls, I get the best of both worlds.

After two years of use, I’ve never once felt the image quality of the X-T5 held me back. Like any format, it comes with its compromises — image quality vs speed vs size — but the X-T5 finds a balance that works exceptionally well. In good light, paired with a quality lens, it can easily produce professional-grade images. In poor light, it won’t match full-frame options, but with a fast prime it still holds its own.

Autofocus Performance

Let’s get one thing straight right away: I don’t shoot sports, nor use the X-T5 for wildlife photography, and I don’t spend time running back and forth in front of cameras trying to force autofocus systems to fail. I’ve never once set up a test of someone sprinting toward me in zigzags as if I were sighting them through a rifle scope. That’s just not how I use a camera, and it’s not how I evaluate them.

What I do shoot is far more typical of how most people will use the X-T5. I photograph my family — from my youngest daughter, Isabelle, now 13 months old, to her older sister and cousins ranging from nine through to their teenage years. I photograph people on the street, street dogs, everyday travel moments, and anything else that naturally comes up when I’m out in the world. In short, I don’t shoot to find fault with the autofocus — I shoot to see how well the camera performs in the situations that matter to me.

With that context in mind — and having also spent time with the Sony A7 IV, OM System OM-1 Mark II, Nikon Z8, and others — here’s how I’ve found the Fuji X-T5’s autofocus performance. In a word: stellar. I know this goes against the grain of what you often hear on YouTube, but after two years of daily use with a wide variety of lenses and in all kinds of conditions, that’s been my experience. My camera is currently on firmware 4.31 and I have upgraded my camera through the Fuji X-App regularly throughout the two years I have owned it and never had an issue, so I can only assume I am either very lucky or the people who have had issues have been unlucky. At no point has my X-T5 suddenly become junk because of a firmware update.

There is a small learning curve to getting the best out of the Fuji AF system, but once you know how to set it up properly, it’s consistent and reliable. To make that easier, I’ve made my X-T5 setup file available for free download here. Personally, I shoot the majority of the time in C-AF with Zone AF selected, adjusting the box size depending on the subject. Set up this way, the autofocus is confident and reassuringly accurate. With Eye AF enabled, it will pick up faces and then lock onto eyes quickly, tracking them reliably as the subject moves. The only time I’ve noticed hesitation is when the closer eye is partially obscured by hair or another element, which can cause the camera to momentarily jump to the other eye. A small adjustment in shooting position fixes it, and you can also specify eye preference in the menus or assign a custom button to force a switch if you really want to.

For real-world subjects — kids, travel, street photography — the X-T5 keeps up just about as well as anything I’ve used, with the exception of Sony’s A7 IV, which I would still place out in front of every other brand when it comes to pure autofocus performance. But that doesn’t make the Fuji lacking. It’s a confident, dependable system that has never once held me back in the kinds of shooting I care about. If I want to accurately focus on one particular area then I quickly switch in to single point AF mode via the Q menu. Will it track fast moving subjects as well as some other cameras, no. But will it let you down for general photography, in my experience, equally, it’s a no.

The X-T5 also includes various subject detection modes, covering animals, birds, cars, motorbikes/bikes, airplanes, and trains. Of these, I’ve casually used the animal option and found it to be just as reliable as human detection. Even with my black dog, the system quickly picked up the shape, face, and eyes and tracked them confidently.

Fuji also gives you the option of AF+MF, which allows you to fine-tune focus manually while the shutter button is half-pressed and autofocus is active. It’s a subtle feature but genuinely useful in tricky situations where you want autofocus to do the heavy lifting but still need that last bit of control. On top of this, the camera provides a solid set of manual focus aids — including peaking, a digital split-image, and a digital microprism. I find focus peaking works particularly well, and with the ability to change color and strength (red, white, blue, low, high), it’s easy to tailor to personal preference or the subject you’re shooting.

You can also interlock spot metering with the active AF point, which I find especially helpful for portraits to quickly get accurate exposure where it matters most. For those who prefer zone focusing, Fuji even lets you change the depth-of-field scale between a “pixel level” calculation or a more traditional “film format basis,” which is a thoughtful touch.

Finally, the X-T5 offers six AF-C custom presets, designed to fine-tune continuous AF behaviour for different types of movement, with one slot fully customizable. This, to me, highlights something Fuji consistently gets right: their cameras are logical, customisable, and flexible in ways that actually matter when you’re using them day in and day out. Once a camera reaches the point of being “good enough” at pure AF speed and accuracy, it’s these quality-of-life refinements — and Fuji’s willingness to give photographers control — that make the difference in long-term use.

A Note on Video

The X-T5 is a stills-first camera, and that’s exactly how I use it. Yes, on paper it has impressive video specs — 6.2K recording, 4K/60p, F-Log2, and even RAW output over HDMI — but I won’t be covering those here. I’m a stills photographer, and that’s the perspective of this review.

If video is your priority, there are better places to go for detailed testing, and within Fuji’s own lineup the X-H2 and X-H2S are far better choices for serious filmmakers. For me, the X-T5’s strength lies in its stills performance, and that’s what I’ll focus on in this review.

I have shot a little bit of video on the X-T5 and from my perspective, it looked great for casual use.

Battery Life & Usability

Battery life on the X-T5 has been consistently solid thanks to the NP-W235. In my real-world use, one battery is usually enough to last through most of a full day’s shooting — a sunrise session (an hour either side), casual shooting during the day, and then a sunset session. Before the evening, I’ll usually swap to a fresh battery, not because the first one is dead, but because my cautious side prefers to change when it dips to around 10–20%. On trips I carry two or three spares, though on any individual shoot I normally just keep one spare with me.

For storage, I use 256GB SanDisk Extreme Pro 170/200 MB/s cards , which provide well over 5,000 shots when shooting lossless compressed RAW. For normal use, they’re fast and reliable, but if you shoot a lot of bursts you’ll eventually hit the limitations of SD and the X-T5’s buffer. In my own tests, shooting RAW at 10 fps, the buffer filled after about three seconds, at which point the camera slowed to ~2 fps until I stopped. Clearing that buffer took about 12 seconds. At 15 fps, the slowdown came after just two seconds. For short bursts this is manageable, but if continuous shooting is your primary use case, the CFexpress cards used in the X-H2 and X-H2S will be a much better fit. I generally use my cards in sequential mode for the extra capacity, but for critical, non-repeatable shoots I’ll switch to backup mode. You also have the option to split RAW and JPEG across slots if that suits your workflow.

Usability is, for me, where the X-T5 really shines. Once the camera is set up, I rarely need to dive into menus beyond the options I’ve assigned to the Quick Menu. You can customise two dedicated function buttons, as well as the AF-On and AEL buttons, plus the D-pad, giving you plenty of flexibility to set it up however feels natural. You can also customise screens swipes for various functions but in all honesty, I never use this as everything I need is covered with Fn buttons. On top of that, Fuji allows you to create and save up to seven custom modes, covering all major settings, and crucially you can rename them. That might sound like a small thing, but it makes a big difference in long-term use. On other brands I’ve lost track of whether a particular custom slot was set for portrait, landscape, or something else. On the X-T5, simple touches like being able to rename custom modes mean that once it’s set up the way I want, I can forget about it and just shoot.

Charging is equally flexible. The camera supports USB-C charging, which is great in a pinch — I’ve topped it up in my bag using a power bank more than once — though day-to-day I prefer a dedicated charger. I don’t use Fuji’s official dual charger, which is overpriced in my view, but instead rely on third-party options from SmallRig and K&F Concepts . For the cost of Fuji’s charger, I can pick up three or four dual chargers plus multiple batteries, and in my experience they’ve been reliable.

Finally, I’ve seen many complaints online about the Fuji X-App, but in my experience it’s probably the best of any camera brand I’ve used. I’ve never had connection issues, and unlike OM System, I can sync more than one camera. Unlike Nikon’s app, which gave me pairing headaches during setup, the Fuji app has been seamless. It allows you to download and install firmware updates directly — something that always makes me nervous with OM System after once bricking a two-week-old E-M1X. With Fuji, updates have been smooth and trouble-free. The app also lets you add GPS data to your photos and control the camera remotely if needed (though I rarely use that feature). For me, the most important thing is reliability, and the X-App delivers.

Conclusion

My overall assessment of the Fujifilm X-T5 is that it’s a jack of all trades and a master of none — except when it comes to the shooting experience. And that, for me, is what sets it apart.

Compared to the Nikon Zf, Fuji’s implementation of physical control dials feels more mature and refined. The autofocus isn’t as good as the Sony A7 IV, but it’s good enough for the way most photographers will use it. Low-light performance doesn’t quite match the Nikon Z6 III, but again, in real-world shooting it’s more than capable. It doesn’t have the sheer speed of the Nikon Z8, but for general photography, the X-T5 is more than fast enough.

It also lacks the advanced computational modes, extreme weather sealing, and industry-leading IBIS of the OM System OM-1 Mark II. But the X-T5 counters with pixel shift, Fuji’s excellent film simulations, and enough weather resistance that I’ve never had an issue shooting in the rain. It can’t match the sheer detail and print size of Fujifilm’s GFX medium format system, but it will comfortably produce gallery-quality 30×20″ prints. It’s not as compact as the X100VI, but paired with Fuji’s “Fujicron” lenses it remains discreet enough for travel and street use.

The point is that the X-T5 may not be the absolute best at any one thing, but it’s good enough across the board — and in combination with its size, lens ecosystem, and handling, that makes it a uniquely compelling camera. If you held a gun to my head today and told me to get rid of all my cameras except one, the X-T5 would very likely be the last man standing.

If you came here and just want the quick answer then here is my summary after owning the X100VI since its release and shooting it for thousands of photos.

I’ve now owned the Fujifilm X100VI for over two years.

When I bought it, I already owned a Fujifilm X-T5. On paper, that made very little sense. The X-T5 offered interchangeable lenses, similar image quality, and arguably far greater versatility.

But that wasn’t why I bought the X100VI.

I’d previously owned both the X100T and X100V, and what I wanted wasn’t another camera. I wanted a camera that simplified photography.

I wanted something I could take on family days out without turning the outing into a photography trip. A camera I could sling over my shoulder, largely forget about, and use only when a moment presented itself. I wanted something discreet enough for everyday life in the Philippines and simple enough that I wouldn’t spend half the day wondering which lens I should have brought.

More than two years later, the X100VI has become exactly that camera.

I’ve used it to document my daughters growing up. I’ve photographed places in Devon that were important to my late father. I’ve carried it around the Philippines and, more recently, around Scotland. In fact, as I write this, I’ve just returned from a woodland walk with my daughter Sofia where the X100VI came along for exactly the same reason it usually does: not because it’s my most capable camera, but because it’s the camera I can bring when the day is about something more important than photography.

That’s ultimately the X100VI’s greatest strength.

It isn’t the best camera I own.

It isn’t the fastest camera I own.

It isn’t even the most versatile camera I own.

But it is the camera that lets me enjoy photography without photography taking over the experience.

And after more than two years of ownership, that’s why I’d still buy it again today.

If you’re considering an upgrade from the X100V then I wrote a comprehensive comparison between the two which explains whether upgrading is worth it for X100V owners.

What I Love About the X100VI

• Beautiful JPEG and RAW files
• IBIS genuinely improves low-light shooting
• Small enough to carry almost anywhere
• Hybrid OVF/EVF remains unique
• Encourages a simpler approach to photography
• Same image quality as my X-T5 in a much smaller package

What Frustrates Me

• Autofocus still requires some understanding
• Aperture ring is too small
• Battery life is average
• Weather sealing requires additional accessories
• Expensive for a fixed-lens camera

Some of the links on this page are affiliate links. This means I may earn a small commission if you choose to purchase through them, at no extra cost to you. I only recommend products I genuinely use or believe offer real value.

Why Is the Fujifilm X100VI So Popular?

Part of the X100VI’s popularity comes down to image quality and portability — but honestly, that’s only part of the story.

The real reason people become attached to the X100 series is because it simplifies photography.

Modern cameras can often feel overly technical. Endless autofocus settings, huge lenses, complicated menus, and the pressure to constantly optimise everything. The X100VI pushes in the opposite direction.

You get one fixed focal length, physical control dials, a compact body, and a much simpler, more film-like shooting experience that gives a genuine sense of nostalgia.

That simplicity matters more than many photographers realise.

I’ve found the X100VI encourages me to shoot more casually, more instinctively, and more consistently. It becomes easier to take the camera everywhere, easier to document everyday life, and easier to focus on moments instead of gear choices.

The X100VI also occupies a unique place in the market. It offers more than good enough image quality, features, and build quality for serious photography, while remaining far more accessible than cameras like the Leica Q3 for most people.

That’s why these cameras develop such a loyal following.

Yes, social media hype has amplified demand, but underneath that hype is a genuinely well-designed camera that reconnects many photographers with why they enjoyed photography in the first place.

Can the X100VI Keep Up With Kids?

This is one of the questions I’m asked most often, and the honest answer is: yes, but with some caveats.

The autofocus on the X100VI isn’t as cutting-edge as the latest cameras from Sony, nor is it as quick as my X-T5 paired with Fujifilm’s faster focusing lenses such as the XF 23mm f/2, XF 35mm f/2, or the excellent XF 16-55mm f/2.8 II.

That said, I’ve photographed my daughters extensively with the X100VI over the last two years and have captured plenty of sharp images. In fact one of my favourite trips in years was some quality time I spent with Sofia at the Twin lakes in Negros oriental, in the Philippines where the X100VI’s size and capability made taking photos fun and the photos captured memories for us both. Spending time with Sofia, her with her Ricoh GRIIIx, me with the X100IV, walking along Dumaguete boulevard, her searching for her next dog portrait, watching her grow in confidence asking owners for photos of their dogs, is one of those coming of age moments, and we shared that through photography.

If your children are running flat out towards the camera, the X100VI can struggle at times and you’ll need to be realistic about its limitations. However, if you take the time to understand the autofocus system, use appropriate settings, and learn to anticipate moments rather than simply relying on the camera to do all the work, it’s perfectly capable of producing sharp, in-focus images of children.

The difference is that the X100VI rewards a more deliberate approach. With a modern Sony camera, you can often rely heavily on the autofocus system. With the X100VI, I find myself timing shots a little more carefully and paying more attention to what my subjects are doing.

For me, that’s a trade-off I’m willing to accept because of everything else the camera offers.

However, if photographing fast-moving children is your primary priority and you don’t particularly care about the X100VI’s size, simplicity, leaf shutter, hybrid viewfinder, or fixed-lens experience, I’d honestly suggest looking at alternatives. Cameras like the X-T5 with the right lens, or some of Sony’s latest bodies, will make that specific job easier.

The X100VI can absolutely get the shot.

You just have to work a little harder for it.

The Freedom of a Fixed Lens

Having previously owned both the X100T and X100V, the X100VI didn’t contain many surprises. I knew exactly why I was buying it and roughly what sort of experience I would get.

What I didn’t expect was just how attached I would become to it.

Over the last two years, I’ve realised that the X100VI gives me a sense of freedom that many other cameras don’t. With one lens, one angle of view, and no decisions to make about focal length, photography becomes simpler. There are no lens choices to second guess, no temptation to bring an entire camera bag, and no feeling that I’m compromising when I get home and open the files in Lightroom.

The X100VI isn’t the most capable camera I own. My Nikon Z8 is faster. My X-T5 is more flexible. My GFX100S produces higher image quality.

Yet the X100VI is often the camera I choose.

Part of that is its size, part is the excellent image quality, and part is the simple pleasure of using it. But I think the biggest reason is that it removes friction. I can take it almost anywhere and never feel under-equipped, while also never feeling burdened by my gear.

For me, that’s the real appeal of the X100VI.

The 40MP Sensor: Nice to Have, Not a Reason to Buy

One of the headline upgrades of the X100VI is the move from 26MP to 40MP. Quite frankly, if Fujifilm had released the X100VI with the same 26MP sensor as the X100V, it wouldn’t have bothered me in the slightest.

For me, the 40MP sensor is a bonus rather than a reason to buy the camera.

Twenty-six megapixels was already more than enough for the way I shoot. I tend to compose carefully in camera, and while I occasionally trim the edges of a frame, I very rarely crop heavily. In fact, I’d estimate that 95% of the images I keep use essentially the same composition that I saw through the viewfinder.

That’s not to say the extra resolution is useless. It does provide more flexibility when you can’t physically get closer to your subject, and on a fixed-lens camera that can occasionally be helpful. But personally, I’d have preferred Fujifilm to improve dynamic range or high ISO performance rather than add more megapixels.

If you’re wondering how the X100VI stacks up against the X-T5, it’s worth noting that while they share the same 40MP sensor, the shooting experience is different. I’ve spent significant time with both, and if you’re trying to choose between the fixed-lens simplicity of the X100VI and the flexibility of interchangeable lenses, these might help:

• I’ve put together a detailed field comparison for street photography to show how they behave in the real world.
• If you’re curious about the look and feel, I also ran some side-by-side image tests comparing the X-T5 with the 23mm f/2 lens against the X100VI.

The real upgrade for me wasn’t the sensor resolution.

It was IBIS.

That’s the feature that genuinely changed how I use the X100VI day-to-day.

I shot a POV video in the Philippines of the X100VI in action which will give you a feel for how the camera is to use in the real world.

Play video

The Lens: Improved Where It Matters

On my X100T, I was generally happy with the lens. However, when shooting close-up subjects wide open at f/2, it could show some softness that occasionally became noticeable.

That changed with the X100V and continues with the X100VI.

After shooting thousands of photos with the X100VI, I’ve never looked at an image and felt disappointed by the lens performance. It resolves individual eyelashes in portraits, captures the texture and detail in the bark of the giant trees I’ve been photographing in Scotland, and produces files that stand up perfectly well to the camera’s 40MP sensor.

Combined with IBIS, I also no longer feel compromised when shooting landscapes handheld.

The highest compliment I can pay the lens is that I simply don’t think about it anymore.

It’s no longer something I worry about or work around. I trust it completely, which allows me to focus on making photographs rather than thinking about equipment.

High-Quality Build, Even Without Japan-Made Label

Though the X100VI is now manufactured in China, I’ve noticed no compromise in quality. It feels sturdy in hand, with a classic aesthetic that doesn’t draw unnecessary attention—a plus for candid street photography. The control dials for shutter speed, aperture, and ISO are tactile and easy to use, especially when shooting one-handed. Compared to my Fuji XT5, the ISO dial on the X100VI is actually easier to adjust one-handed, a minor but noteworthy convenience.

During a dawn shoot on the Dumaguete coast, I encountered an odd issue where the LCD screen refused to turn on for about a minute — though the viewfinder worked perfectly. The camera had been stored overnight in an air-conditioned room, and when I brought it outside, it was immediately covered in condensation. I can’t confirm if the two events were related, but it didn’t happen again after that morning. Worth noting if you’re shooting in similar humid environments.

Leaf Shutter and Built-In ND Filter

Two features that often get overlooked on the X100VI are the leaf shutter and the built-in ND filter.

I’ll be honest — neither of them are features I use every day. But when I do need them, they make photography simpler simply because they’re already built into the camera.

The leaf shutter allows much faster flash sync speeds than most interchangeable-lens cameras. In practical terms, that means I can add a touch of fill flash to portraits in bright sunlight without having to think too hard about my settings.

The built-in 4 stop ND filter is equally straightforward. A quick flick of a switch and I can shoot at wider apertures in bright conditions, or slow the shutter speed down to capture movement in water without carrying additional filters.

Neither feature is a reason to buy the X100VI on its own.

But both fit perfectly with the camera’s philosophy. They remove friction, reduce the amount of equipment I need to carry, and make it easier to focus on taking photographs rather than managing gear.

In-Body Image Stabilization (IBIS): Enhanced Low-Light Capability

One of the notable upgrades with the X100VI is the inclusion of in-body image stabilisation (IBIS). For a compact, fixed-lens camera, this is a significant feature, particularly for photographers who often find themselves shooting in low-light conditions. The IBIS system compensates for minor camera shakes, which is incredibly useful when shooting handheld at slower shutter speeds. I owned the X100V prior to getting the X100VI, and one of my only real gripes with that camera was the lack of IBIS. It’s not that I’m constantly shooting at slow shutter speeds — but in real-world use, IBIS means I don’t have to think about shutter speed nearly as often, unless I’m photographing moving subjects.

In practical terms, IBIS is especially beneficial when there’s limited ambient light, and you’re shooting a static scene. It allows you to lower the shutter speed without introducing motion blur, helping you capture sharp images while keeping ISO levels down. This is a feature I’ve found invaluable as the light fades during a shoot. Previously, with older models like the X100T, I’d often have to raise the ISO to maintain sharpness. With the X100VI, I can drop the shutter speed, allowing the sensor to capture more light and keep noise levels to a minimum. I can comfortably shoot the X100VI handheld at 1/2 a second and get consistently sharp images. That opens up a lot of creative opportunities when the light levels drop. 

For a documentary and travel photographer, this enhancement makes the X100VI even more versatile, especially when conditions aren’t ideal. It’s one more reason why this camera is proving to be my go-to choice for personal projects and spontaneous shoots alike.

Ergonomics and Customisation

The X100VI has a solid ergonomic design, but I’ve added a SmallRig thumb rest and grip extension to make it truly comfortable for extended shoots. While the camera’s grip is fairly small on its own, these additions have made it much easier to handle for all-day use.

The lack of a D-Pad is a minor drawback — the camera relies more on the touchscreen and joystick for adjustments — but most essential settings are still quick to access. I do prefer the XT5’s extra custom function buttons, but the X100VI’s small size and light weight make it ideal for travel. And with these accessories, it’s even better. If you want to set it up the way I use it — fast, intuitive, and ready for real-world shooting — you can download my free Fuji setup files and X100VI quickstart ebook here.

These are the essential accessories I’ve added to my X100VI to take it to the next level of comfort.

[Fuji X100VI Accessories]

Control Dials, Hybrid Viewfinder, and Customisation Options

The X100VI’s dedicated dials for shutter speed, aperture, and ISO are fun to use, offering a tactile shooting experience. The hybrid viewfinder, which combines an optical viewfinder with an electronic overlay, is a unique feature that works well for street photographers. Personally, I use the electronic viewfinder most of the time, but it’s nice to have the optical option for situations where seeing outside the frame is helpful. The focus ring can also be customised to adjust settings, though I turned off this function since it often got accidentally knocked in my bag. There are enough external buttons and customisation options that if you set it up using my custom settings, you can access virtually every important function without menu diving.

Battery Life: Good for a Day of Shooting

Despite using the older NP-W126s battery, I’ve found battery life to be ok. A single battery will generally last me a few hours of shooting. IBIS drains the battery so I still carry spares, especially for long shooting days, but I’m pleased with the performance overall. Of course it can also be charged by USB-C and I usually pack an Amker Nano power bank in my Peak Design Everyday Sling bag which has enough power to fully recharge the battery 2 times.

Film Simulations

One of the highlights of Fujifilm’s X100 series has always been the film simulations, and the X100VI is no exception. Despite the introduction of new film simulations, after playing with them briefly, my favourites remain the same. Classic chrome is my go to while I sometimes use Provia, Pro Neg and ocassionaly Astia. However, after more than two years with the X100VI, I’ve actually found myself returning to shooting Raw and editing in post but I work from Adobe Lightroom’s included Fuji film simulations as a base. For Jpeg shooters, the film simulations are like a cheat code. There’s a simulation to suit most tastes and subjects but I still prefer the control of editing in post.

Who is the X100VI for?

If you are looking for a camera you’ll actually carry, this is it. It’s the kind of body you grab without a second thought, and because it’s always with you, it actually gets used. It’s built for those who value simplicity but still demand serious image quality—the 35mm-equivalent lens keeps you focused, while that 40MP sensor gives you plenty of room to crop. It’s my go-to for travel, documentary, and everyday life because it’s small, discreet, and quiet, and it offers a much more film-like, intentional experience than a modern, menu-heavy digital camera. Plus, it’s a more accessible way to get that premium, fixed-lens experience if you’ve been eyeing a Leica Q3 but can’t justify the price. The addition of IBIS finally removes the friction of shooting in low light; I don’t find myself fighting my shutter speed nearly as much, and it’s genuinely changed how I approach handheld work when the sun goes down.

Who should skip it?

That said, it isn’t for everyone. If you already own an X100V, the upgrade is hard to justify unless IBIS or the faster autofocus is genuinely solving a specific problem for you. Similarly, if you are looking for a powerhouse for chasing fast-moving subjects—like kids indoors in poor light—an interchangeable-lens body is going to be a much more dependable tool. And, fundamentally, if you know you’ll constantly find yourself wishing for wider or tighter framing, the fixed lens will eventually feel like a limitation. You’re better off with an X-T5 and a small prime.

Supply Issues and Alternatives

Fujifilm’s X100VI has been difficult to find. Preorder numbers were huge and it was sold out for a long time after launch. However, supply is now improving and I have seen a lot more available stock in 2026. Fujifilm moved their production to China to increase supply and while demand has still outstripped supply, the situation does now seem to be improving.

In 2026 the popular alternative is the recently released Ricoh GRIV. I have reviewed the GRIV as well as putting it up against the X100VI. Both cameras are excellent but offer very different shooting experiences. Personally, I’d still pick the X100VI and thats why it remains top of my best compact cameras 2026 list but it really does come down to what you prioritise from your compact camera.

If you’re ready to pick one up, you can check the current price of the Fujifilm X100VI here. It’s the easiest recommendation I can make for a camera that balances portability, capability, and sheer enjoyment

If you’re unsusre whether to buy the X100VI

When people ask me if there’s anything else they should look at, I usually point them toward three distinct directions depending on what they actually value.

If you want something truly pocketable, the Ricoh GR IV is the obvious rival, though you’ll have to give up the viewfinder and that tactile, physical charm the X100 line is famous for. If your priority is lens flexibility, a Fuji X-T5 paired with a small prime keeps the footprint manageable while giving you options the X100VI simply can’t provide. And for those drawn to a full-frame sensor, the Nikon Zf is a serious alternative, though in my experience, it’s noticeably heavier and less comfortable for all-day carrying.

 Fuji X100VI review Conclusion: A Camera I’ll Never Part With

I moved back to Scotland in 2026 and the first camera that I got out and shot with was my X100VI. It’s still the camera I reach for instinctively when I want simplicity, small size, and the capability to produce beautiful images without the need to consider lens choices. While alternatives like the Nikon ZF offer full-frame performance and better low-light capability, the X100VI wins for me in terms of portability and ease of use. I simply want to pick it up and use it more than other cameras that I own. I own some fantastic cameras so that is very high recommendation indeed.

If you’re a photographer looking for a camera that inspires you to shoot, one that simplifies your gear choices and makes you focus on the art of seeing, the Fuji X100VI is worth every penny. I’ll continue shooting with mine as I explore our new home, here in the Scottish Highlands.

 Frequently Asked Questions

Is the X100VI weather-sealed?

Not out of the box. It is only weather-sealed if you add a filter adapter ring and a front filter to complete the seal.

Can the X100VI fit in a pocket?

Not in your jeans—but it will just about squeeze into a jacket pocket. It’s compact, but not tiny.

Is the X100VI good for travel photography?

Yes. It’s one of the best options available: small, light, discreet, and capable of producing professional-level images with minimal fuss.

Is the X100VI worth upgrading to from the X100V?

Probably not. I owned the X100V, and while the X100VI adds IBIS and a new sensor, the lens is the same and overall handling is similar. Unless you need image stabilisation, you’re better off saving the money and booking a trip instead.

Is the X100VI good in low light?

Yes—thanks to its f/2 aperture lens, strong high ISO performance, and built-in flash. Combined with IBIS, it’s well-suited for low-light situations.

Are there better alternatives to the X100VI?

Not really. If you want smaller, the Ricoh GRIII or GRIIIX are great, but lack a viewfinder, weather sealing, and comparable autofocus. If you want to spend more, the Leica Q3 is an option. Want even more quality? Look at the GFX system. But at this price point, the X100VI has very few true rivals.

Is the X100VI sharp?

Yes—the fixed 23mm f/2 lens is sharp, even wide open, and the 40MP sensor helps extract even more detail.

Is the X100VI good for family photography?

It depends. For general use, yes. But if you’re chasing toddlers around the house, the autofocus may not be the most reliable compared to newer interchangeable-lens cameras with faster tracking.

I’m currently shooting with the OM-1 Mark II, which improves meaningfully on the original OM-1 I reviewed in this article. You can expect a lot more OM System content going into next year once I’ve organised the move. The Highlands will give me the chance to shoot more landscapes and wildlife again — areas where both the OM-1 and OM-1 Mark II really excel.

In this OM System OM-1 review I am going to show you what the OM1 is like in general use. I originally bought the OM1 with the intention to start spending much more time doing wildlife photography. However, with a young family , I simply don’t have the time available to really dedicate to that pursuit. What I have had, is a lot of time and use with the OM1 and it’s successor, the OM1 II , which I have just featured in my best cameras of 2025 article. If you’re looking for a smaller camera to take on your travels then this article shows the best compact cameras. I’m also now testing the OM Systems OM-3 and have even put the OM-3 up against my Fuji X100VI. I’ve also written about the things that I really enjoy about the OM-3 after a month of use as well as listing the best accessories for the OM-3 that I use. I have now completed my full review of the OM-3 which you can find here.

This article contains affiliate links. If you purchase through them, I may earn a small commission — at no extra cost to you. It helps support the site and allows me to keep writing real-world reviews like this.

It is easy to find an OM System OM1  review that covers bird photography.

Therefore this review will cover what the OM System OM1 is like for landscapes, travel and some candid portraits too.

As you can see from previous articles on my site I have been using Olympus gear for a long time now. I have owned and used the EM5III which I reviewed as well as the EM1X and EM1III. I wasn’t motivated to write a review for the EM1 III as I didn’t feel that it brought enough to the table to warrant a full review. The EM1X was and is a fantastic camera but one that was controversial due to the size. I really liked that camera and have been tempted recently to get another due to the great deals Olympus Europe are offering on it. However, I’m doing a lot of travel these days and so I have resisted as it doesn’t fit that well with my ethos of travelling light.

Anyway, back to the OM System OM1 review.

The OM1 had enough new features and claimed improvements to get me seriously looking at it because I wanted a camera that was suited to travel. It is not just the size of the Micro 43 system that attracted me but also the possibility to leave both my tripod and filters at home thanks to the IBIS and internal ND filters. This would enable me to travel essentially with just the camera, lenses and batteries without compromising on the kind of images that I could create.

What’s new with the OM Systems OM1

Here are the main selling points that motivated me to buy the OM1, which I shall talk about in this article.

OM-1 Ergonomics & Handling

The OM1 was the last camera that was designed by Olympus before they sold their imaging division and it changed to what has now become OM System. It has the Olympus logo on it and it feels every bit an Olympus EM1 series camera. The handling is very similar to previous EM1 bodies. A couple of the buttons on the back are a little too recessed for my liking so using it with gloves is more difficult than the EM1X (which was among the best handling cameras that I’ve ever used).

Weather Sealing

However, it is comfortable and the build quality feels up to the usual standards I have come to expect from Olympus. It now comes with an upgraded IP53 rating for weather sealing. In practise, I have put my olympus cameras through some of the most demanding weather over the years, from the wild winds and driving rain of the Outer Hebrides to the monsoons of Asia and they have never let me down. With the OM1 I have no concerns that it will be anything less than solid in all weather conditions.

The main upgrade that interested me was the new 5.76 million dot EVF. This has been a long time coming and is a much needed upgrade in order to mix it with the competition. It is bright, clear and sharp. It makes the EVF a pleasure to use and is a huge upgrade compared with the previous generation’s old 2.36 million dot EVFs. I am now able to clearly see which areas of an image are in focus and combined with the focus aids it is infinitely better than the older cameras. With the EM1X I could barely define sharpness and manual focussing was a real struggle.

Dual SD card slots remain and while it would have been nice to see a CF express type B card slot to match the shooting speeds possible with the OM1 I find that the dual UHS-2 card slots work well for everyday shooting and save me a bit of money on having to purchase (the still expensive) CF Express cards.

On the top dial the OM1 has 4 custom slots which I find very useful for quickly swapping between setups for various shooting scenarios. I initially set these up with differrent birding and wildlife scenarios in mind and it made switching between hi speed shooting modes and various auto focus modes very quick and easy. My custom modes are now setup for various portrait and lighting scenarios.

In terms of ergonomics, everything else remains broadly similar to the EM1 mark 3 so moving from one to the other is pretty seemless physically.

The OM1 has a new and in my opinion, much improved menu system which anyone migrating over from another brand will find far easier to navigate. Items are laid out and named in a much more logical way than the older menu system. As someone who has used a lot of Olympus cameras I knew my way around the old menus but the new one is undeniably much better.

Not only is the menu laid out much more logically but unlike other cameras, when an option is not available it actually tells you why. You can also press the info button to get a brief explanation of what a menu option does. I find the new menu to be one of the best available from any manufacturer.

Sensor

The OM1 comes with a new stacked 20mp sensor that allows it to shoot at insanely high frame rates of upto 120 fps without AF and 50FPS with AF. For birders this is incredibly useful and when combined with Pro Capture it allows you to get shots that are simply not possible with most other cameras.

To read more about these features I would suggest that you head over to specific wildilfe and birding reviews as it is beyond the scope of this review and as mentioned in the title, this is not a birding review.

Claimed Improvements

OM System claims that the new sensor offers a 1 stop improvement in dynamic range and a two stop improvement in high ISO noise performance.

In all honesty I have not done any scientific tests on the dynamic range of this camera compared to previous versions as I no longer have any other Olympus cameras. My instinct from looking at previous photos and ones from the OM1 are that any difference in dynamic range is fairly minor. The shots look the same to my eye and that’s fine as I normally get the exposure pretty close to where I want it in camera and I find the OM1 to have enough dynamic range to do this. Should it be a particularly challenging scene then it’s easy to setup bracketing.

I have tested for noise performance and I can say that a two stop improvement is a little optimistic. I would suggest 1 stop to be a little more accurate. There is definitely an improvement in the high ISO performance of the OM1 compared with the EM1 iii and EM1X and I am often surprised at how good images look at ISO 6400. In fact I was shooting the OM1 just the other day at night and found that the noise performance, even at ISO 10,000 was surprisingly usable when shooting black and white (which I do a lot these days).

Some of the claimed improvement in noise performance undoubtedly comes from OM Workspace now having an AI powered de-noise feature included which does a remarkable job at cleaning up image files. Adobe Lightroom also now has this feature.

As much as I wish they could, OM System cannot overcome physics and the small gap between Micro 43 and APS-C in terms of noise still exists. My Fuji XT5 files still look cleaner once I start to push the ISO to 3200 and above.

OM System OM1 Review – Key features

As mentioned at the start of this review, as well as wildlife photography, the OM1 has some key features and improvements that lead me to believe I could use this camera for travel and leave behind my tripod and filters.

The hand held hi res mode combines 8 images to create a 50mp file and importantly, composites the images much more quickly than the EM1 III.

In practise I have found this feature a mixed bag. Sometimes the additional detail and improved noise performance/tonality are readily apparent over standard 20mp images and at other times I struggle to see any meaningful difference between them. What I can say is that the speed at which the OM1 now produces the hi res images makes it much less of a hassle to take them as you are only waiting a few seconds for the camera to be ready to shoot again.

OM System’s Hi res mode still does not have motion correction unlike Panasonic so any movement in the scene can and does cause some issues. In practice, for landscapes I have found hand held hi res quite usable. I have even used it for portraits on occasion and providing your subject doesn’t move too much it can work well. I wouldn’t rely on it though.

One thing that I rarely hear discussed online is the fact that the larger depth of field of Micro 43 sensors for a given angle of view can be a benefit over larger sensors. For instance, when shooting a landscape where I want front to back sharpness on my GFX 100S, it will require me to stop down considerably, pay much more attention to hyper focal distances and quite often require me to focus stack. On the OM1 the hi res mode combined with deeper depth of field actually makes getting these kinds of images much more simple than on larger format sensors. The image quality of hand held hi res is not quite upto medium format standards but it is certainly a lot closer to full frame than you might think.  Either way, I find hand held hi res to be a useful feature and one that I hope OM System develop more in the future.

ND Filter

The other feature that interested me is the ND filter mode. I say mode because it is not a physical ND filter but a software based solution that combines multiple photos and blends them together in camera to give the apearrance of having used an ND filter. I don’t know about you, but I’m a sucker for slower shutter speeds when it comes to rivers, waterfalls and coastal images.

In practise I have found the ND filter in the OM1 to work really well and give natural looking shots most of the time. With upto 6 stops of ND filtration it offers plenty of scope to get those beautiful silky water effects yet leave your tripod and physical ND filters at home.

Auto Focus

While most OM System OM1 reviews focus on how the camera performs for wildlife and bird photography, not much has been said about how good it is for general photography.

The speed of the new processor along with quad pixel Af points mean that the OM1 is very quick to focus. I use the OM1 with single AF unlike when I use Sony cameras which do much better in continuous AF mode.

The AF is quick to attain focus and rarely gives me any false positive focus locks.

Face Detect

Face and eye AF work quite well when your subject is facing the camera front on and even to the side a little but it is not as good as the latest AF from either Canon or Sony. Those systems are exceptionally good at keeping the subject when they turn away from the camera and back again although my Sony A7IV does ocassionally give a positive focus lock yet the image is not quite in focus. Generally the AF on the OM1 is fast and accurate and on par with my Fuji XT5 when it comes to face and eye tracking. In low light it can sometimes struggle a little bit but all my other cameras behave in the same way under the same circumstances too.

If i had to rate the OM1 AF when shooting general subjects and people I would put it in the second division, below Canon and Sony but on par with Fuji and Nikon and above my Panasonic GH6. It is more than capable of getting sharp in focus shots in the majority of situations.

The subject recognition modes also work really well, bird photography is a breeze and shooting my growing pack of dogs when they are charging around is no challenge at all. The fact that you can easily setup custom functions to switch between your favourite AF modes is also very useful.

OM-1 Review: Conclusion

If you are considering the Om System OM1 as a general camera for family, portrait, landscape and travel photography then it is a very capable camera. It has the most advanced computational photography modes of any camera from any brand with features such as live view, live composite and hand held hi res and ND modes. Combined with the exceptional weather sealing and comfort it makes for a great all around camera. It will also allow you to capture some fantastic wildlife images for a lot less money than a lot of other systems while saving quite a bit of weight.

However, as a general camera there is a lot of competition and if the features that I mentioned above are not integral to your plans then it may not make sense to pay for all the technology crammed into the OM1.

Yes, the OM1 is capable of doing just about everything you could want and that makes it a great all rounder. However you are paying for a stacked sensor and hi burst shooting rates which may be of no benefit to the things you photograph.

For landscapes and travel, an OM5 ii (if they bring the new menus, hand held hi res speed and ND filters of the OM1) would be perfect and cheaper/lighter.

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Alternatives

If you shoot mainly people then I would take a Fuji XT5 over the OM1 and for street photography the Fuji weather sealed f2 primes are hard to beat. I wish OM System would update their compact f/1.8 primes to be weather sealed but they show no signs of doing so. UPDATE October 2025: Om System have listened and are updating the f/1.8 primes. I have the OM-3 along with the updated OM 17mm f/1.8 II which I reviewed.

You also have to consider that you can now pick up some great full frame options for a similar price to the OM1. A Sony A7IV with an f/1.8 lens will still give shallower depth of field than an OM1 with one of the costly but excellent f/1.2 primes. The shooting experience with the OM1 may be a little nicer but the image quality of the Sony will be better.

As with all cameras, there are pros and cons and I could make arguments for and against almost all cameras and kits. In the end, if the OM1 does what you want it to do, for a price you are willing to pay, then you will not be disappointed as it is an excellent camera. There is no camera that does everything brilliantly, thats why I now choose cameras for specific needs. The OM1 suits me perfectly for travel where the subjects will be of the natural world and that’s why I take it with me on these kind of trips.

That concludes my OM System OM1 review. I really enjoy using the OM1 and Micro 43 in general. Many have spoke of the demise of Micro 43 but I sincerely hope that they continue to bring out new and innovative cameras like the OM1 because I certainly enjoy using them. Despite Youtube and other places constantly beating the drum of full frame I believe a lot of people would be well served using Micro 43 instead. All sensor sizes come with compromises and it’s up to us to decide which ones we are willing to accept. Now OM Systems, please make a Pen F II and I would be all over it.

However when I don’t have a tripod with me I always notice that I miss shots and that I don’t work as hard at my compositions. Therefore I have spent quite a lot of time researching the best travel tripods available and have now been using the Manfrotto BeFree Advanced travel tripod for a couple of years.

 

I thought it was about time that I reviewed the tripod so please check out my latest video review over on my Youtube channel

I’ve used it with my OM-1 and OM-1 Mark II to make some of my favorite portraits of my daughter Sofia — who is now (unbelievably) 9 years old. One of the photos from the original review shows her as a toddler. The black and white photo below, taken just recently in the snow, shows her smiling all these years later.. Same lens. Same joy. That’s the kind of relationship you build with gear that truly lasts. I’m taking the 25mm 1.2 along with the OM3 on a trip tomorrow. It’s still one of my favourite lenses for any system. In fact that’s why I just featured it in my best lenses for travel photography article.

In this Olympus 25mm 1.2 Pro review I shall go through the pros and cons of this premium lens from Olympus and weigh up whether it is worth the extra cost over other 25mm options like the Olympus 25mm 1.8 and Pana Leica 25mm 1.4 lens.

Back to the Review

I have had this lens for a couple of months now and mainly used it in Asia for portrait and travel photos on the Olympus OMD EM1 Mark ii and Panasonic GH5. If you want to see how those two cameras compare for stills photography then head on over to my comparison here

Olympus 25mm 1.2 Pro review – Specs and handling

Obviously the stand out specs for this lens are the super fast 1.2 aperture along with the weather sealing.

The lens feels very well made, the same as all Olympus’ pro lenses. It is quite large by Micro 4/3 standards being around the same size as the Olympus 12-40mm f/2.8. Pro. However it feels well balanced on the OMD EM1 ii and Panasonic GH5. I never felt that the size of the lens was an issue. In fact I prefer the size of this lens over something smaller like the 25mm 1.8 as it just matches up with the larger Micro 4/3 bodies better.

Construction is impressive as it feels solid and well made. The focus ring is buttery smooth and allows you to easily and accurately manual focus when necessary. The lens features a clutch mechanism which you simply pull back to engage manual focus or push forward to be back in auto focus again.

The only criticism I would have is that the focus clutch mechanism is a little too easy to move so sometimes when picking it up out of my bag I knock it into manual focus by accident.

I can vouch for the excellent weather sealing on this lens as it withstood many Asian downpours while attached to the EM1 ii and I never had any problems at all with it.

It auto focuses quickly and accurately on the Olympus OMD EM1 ii and GH5. It is incredibly quick to focus and combined with eye detect AF makes shooting portraits a breeze.

There isn’t really a huge amount more to say on the handling of this lens. It is impressive and if you don’t mind the size then you will not be disappointed.

Olympus 25mm 1.2 Pro review – Image quality

I bought this lens and was expecting great things from it as Olympus has made a big deal about the image quality and in particular the quality of the ‘feathered bokeh’. Is this all marketing hype or is this lens really something special and worthy of the price tag.

In terms of sharpness I am not particularly interested in MTF charts and DXo scores. They tell me very little. What really tells me if a lens is sharp is if it looks sharp to me when I examine my images in Lightroom.

I shot a lot of portraits with this lens and the test for me is always when looking at eyebrows and eyelashes. I want to see if they are clearly defined or not.

Lets take a look at some samples below:

As you can see when shot wide open the Olympus 25mm 1.2 pro is incredibly sharp for a 1.2 lens. It renders the details of your subject beautifully and indeed offers some of the smoothest and creamiest bokeh I have seen. The bokeh is not busy or nervous at all and to my eye is very pleasing.

There is also a quality to the photos taken on this lens that you just do not find on many lenses. Your subject pops but because of the smooth transitions from in focus to out of focus the images feel very natural. In comparison to the Pana Leica 25mm 1.4 the images feel more organic and less digital. The Pana Leica is a lovely lens too and seems to offer more of a 3D pop to the images making your subjects  look very 3 dimensional and thus stand out from the background. However I find the rendering of the Olympus more natural and pleasing. The Pana Leica’s bokeh is a little more busy.

At f/1.2 the lens is already sharp and it gets a little sharper as you stop down to 1.4 -2. I would say the Pana Leica is perhaps a little sharper wide open but both are easily sharp enough for me.

The Olympus 25mm 1.2 Pro controls CA very well.

I didn’t experience any issues with lens flare and I was often shooting in broad daylight with strong sunshine.

Olympus 25mm 1.2 Pro Review – Conclusion

So would i recommend the Olympus 25mm 1.2 Pro?

That is a resounding yes. It is my favourite lens and in my time in Asia with it I only took it off my EM1 ii once and I regretted it. I absolutely love this lens for the fast aperture and build quality but most of all for the superb image quality and beautiful rendering. It allows you to create images that you just cannot get with other 25mm lenses and it means that I can shoot those images in to the night while keeping my ISO to 1600 and below.

If you can afford it and like the focal length then I can highly recommend this amazing lens. You will not be disappointed.

Update January 2026. It’s hard to believe just how long ago it was since I wrote this review. I stand by the fact that the Olympus 12-40mm f/2.8 Pro is still a fantastic lens and one that I used for years. I am heading back to the UK next week, where I will pick up my OM1 Mark II and the OM System 12-40mm f/2.8 Pro mark II. Essentially the same lens. That says a lot about how I regard this lens. I still use the newer version, to this day, 8 years later. In fact I’ve just featured it in my best lenses for travel photography with the Om-3 article. Stay tuned for more OM Systems articles coming soon. You can see my OM1 review here and why I bought the OM-3 here.

In this Olympus 12-40mm f2.8 review I will go through the pros and cons of this professional grade zoom lens after having used it for well over a year in my personal and professional work.

The Olympus 12-40mm f/2.8 was the first in Olympus’ Pro series of lenses designed for Micro 4/3 cameras. It is a weatherproof (dust, splash and freeze proof) fixed aperture zoom lens offering the 35mm equivalent field of view of a 24-80mm lens. It has a fixed aperture of f/2.8 throughout the zoom range with a filter thread of 62mm.

Build Quality

The first thing you will notice when you pick up the 12-40mm is the build quality. Like all of the Olympus Pro range of lenses it is extremely well made. At 382 grams and featuring a metal construction it feels solid in the hand and inspires confidence in use. For me it fits perfectly on the Olympus E-M5 II with the HLD-8G grip attached or on the EM1 and Em1 II giving you a weather sealed combination.

There is also an additional function button on the lens which you can program to activate a variety of features by simply customising it in camera.

While it is a larger lens for Micro 4/3 in comparison to some of the tiny primes, it is not oversized and much smaller than something like the Canon 24-70mm f/2.8. You can carry it attached to your camera all day and not notice the weight.

Olympus 12-40mm f2.8 Review – Focus

This is going to be a very quick section because all there is to say is that focus is as fast as any lens on the system. It is instantaneous to focus and is deadly accurate. Absolutely no issues here.

The zoom ring is nicely damped and it features a manual focus clutch mechanism that allows you to easily swap between auto and manual focus simply by pulling the clutch back or pushing it forward. It uses focus by wire but don’t let that put you off as the focus ring is incredibly smooth and allows you to easily and finely adjust your focus.

Zoom markings are shown for 12, 14, 18, 25, 35, and 40mm. If you pull back on the focus ring you put the lens into manual focus mode and reveal a focus scale. The focus scale has markings at 1’, 2’, 5’, and .2m, .5m, and 1m, plus infinity. Close focus is 8” (0.2m), and the lens can produce a 1:3.3 magnification ratio at 40mm.

The Olympus 12-40mm zooms externally so it increases in length from 3.3″ -5″ when extended.

Olympus 12-40mm f2.8 Review – Image Quality

The 12-40mm pro does suffer with some barrel distortion at the wide end if you shoot raw. The Jpegs are corrected in camera and the software does a good job in most cases. At 40mm there is a slight amount of pin cushion distortion. If you are shooting raw and have straight lines in your shots then you will need to correct in post.

The lens also shows some vignetting when wide open at f/2.8. This is easily corrected in post. I guess Olympus tried to keep this constant f/2.8 zoom as small as possible and that means the image circle only just covers the micro 4/3 sensor.

This lens handles chromatic aberration very well and I see very little sign of fringing even when shooting high contrast scenes. It also handles flare well.

The Olympus 12-40mm is sharp from 12mm all the way through to 40mm even wide open at f/2.8. At 12mm the corner performance is slightly softer than the centre but still way better than something like a Canon 17-40mm L. As mentioned the lens is bitingly sharp in the centre at f/2.8 and performance increases slightly when stopped down to f/4.

While f/2.8 on the Micro 4/3 format does not offer the same shallow depth of field as on 35mm sensors it is still capable of allowing your subject to be isolated from the background as shown in the above portrait. The bokeh from the Olympus 12-40mm f/2.8 at 40mm is enough for portrait work and the rendering is smooth and not overly busy. While it couldn’t be described as creamy it is not nervous and distracting and so works well. If you want a dedicated portrait lens then I suggest that you check out my Olympus 75mm f1.8 review or 45mm 1.8 review

Conclusion

Overall I would rate the Olympus 12-40mm f2.8 as one of the best zooms I have used. It is very well-built and combined with my EM5II or an EM1 series body offers excellent weather-sealing and a very useful focal range.

In terms of image quality sharpness is outstanding throughout the zoom range enabling you to shoot it wide open at f/2.8 without concern. It can do everything from wide-angle landscapes to portraits and it does it all well. Yes other lenses may be better at specific roles but none offer the versatility and fixed bright aperture of this lens.

If you are trying to decide between this lens and the Panasonic 12-35mm (mark i or mark II) then it really comes down to a few factors as optically they are very similar. The Olympus is better at the wide end and offers a little more range at the long end. However the Panasonic is slightly sharper at 35m than the Olympus is at 40mm.

If you are shooting on a Panasonic body then perhaps you might prefer to go with the Panasonic lens to take advantage of Panasonic’s depth from defocus system and in the case of the mark ii lens their dual sync IS. The Panasonic lenses are both lighter than the Olympus.

However having owned all 3 lenses and as an owner of the Panasonic GH5 and Olympus EM5 II I decided that the build quality of the Olympus 12-40mm edged out the Panasonic and so I kept it over its rivals. When I say edged out, it is night and day. The Panasonic’s feel like a consumer grade lens with very good optics. The Olympus 12-40mm feels like a professional grade lens in every way.

During my testing, dual sync IS between the GH5 and 12-35mm ii made no noticeable improvement in the image stabilisation and didn’t allow me to handhold shots for any longer than when using the Olympus 12-40mm f/2.8 on the GH5.

If you are going to own just one lens for Micro 4/3 then this may very well be the best choice. Make sure to check out my Olympus 25mm 1.2 Pro review as well.

 Update June 2025: I fondly remember getting the Fuji XT2 and I not so fondly remember shooting a wedding with it, a Pen F and a Nikon D7200. Not fun in Phiilippines heat. I don’t touch weddings these days but I am still a a Fuji user. Im currently using the X-T5 and X100VI along with some other cameras. See how they compare here. Or for a full review of Fuji’s best photography centric camera you can see this article.

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.

You can buy at Amazon.co.uk
Fujifilm X-T2 Camera Kit – Black

And Amazon.com

Fujifilm X-T2 Mirrorless Digital Camera (Body Only)

So lets take a look at the new features of the Fuji XT2 and see what we get.

• New 24mp sensor with broader array of Phase detect AF points
• 8 FPS mechanical and 14 FPS Electronic burst rate.
• 4k video 
• Dual SD card slots
• New hinged LCD Screen
• Handling improvements (which I’ll discuss later)
• Dedicated AF Joystick
• 1/8000 mechanical shutter speed (1/32000 electronic shutter)
• Acros film simulation
• Customisable continuous AF profiles

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 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  

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.

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.

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.

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.

Overall the 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

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.

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.

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.

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.

It also performs a little better than the Nikon D7200

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.

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.

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

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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