If you’re looking at picking up a camera to shoot video as well as stills then the full-frame mirrorless Sony Alpha 7 series contains several fantastic options, and it can be difficult to know which should earn your buy.
For this blog, we’re going to take an in-depth look at two of these cameras — the Sony A7S II vs. Sony A7 III. Both have their advantages and disadvantages, and both will see you more than satisfied with your purchase should you decide to take the plunge. This isn’t about ascertaining which is the “better” camera, but simply a means by which you can assess which model is right for you.
Is everything clear? Then let’s get cracking…
Sony A7S II
It’s not too much of a stretch to call the first Sony A7S revolutionary. With its compact form factor, full-frame sensor, its whopping ISO ceiling of 409,600 that allowed it to effectively turn night into day, and the ability to record 4K video to boot, this seriously impressive machine started tempting videographers in droves.
One of the annoyances with the original A7S was that it wasn’t possible to record 4K video internally — doing so required an external recorder. The Sony A7S II fixes this as its first priority — it records glorious 4K 4:2:0 8-bit video (in XAVC S format, with no pixel binning) internally.
It can manage 4K video 8-bit 4:2:2 colour depth if hooked up to an external recorder. It also brings to the table some seriously impressive slow-mo, with the capacity to record Full HD video at 120fps at 100Mbps.
What else is there for videographers? Glad you asked. That delightful high ISO ceiling of 409,600 is present and correct, making the A7S II a formidable low-light beast. While results at these high ISO settings are not what you’d call high-quality, results throughout the range are impressive, and it’s a good option to have in seriously challenging lighting conditions.
There’s an internal 5-axis image stabilisation system that works with video too. Sony also promised better autofocus for video with this model, up to twice as fast as the previous model, although there’s no phase-detect autofocus system and the camera relies entirely on a contrast-detect system.
Videographers also have access to S-Log2 and S-Log3, Gamma settings that create a flat picture profile with maximum dynamic range. These are designed to capture as much detail as possible to give you the maximum amount to work with when colour grading in the edit (See our blog on Canon’s version, C-Log, for a more detailed explanation on how this sort of thing works).
According to Sony, S-Log can provide increases in dynamic range as high as 1300%. The camera also provides a useful Gamma Display Assist mode that allows you to view the scene with a normal contrast even while shooting in the flat profile. Elsewhere you’ve got plenty of other useful video features: Sony Picture Profiles, focus peaking, zebra patterning and a histogram.
In the centre of all this is a 12.2MP Exmor CMOS sensor with improved noise reduction algorithms, making use of its lower pixel count to provide larger photosites that help to further control noise.
Sony A7S II key advantages
– Thoroughly optimised for video
– Amazing low-light performance and noise control
Sony A7 III
As you may be able to deduce from its number, the Sony A7 III is a more recent camera than the A7S II, and accordingly it inherits features from recent star cameras like the Sony A9. While many cameras in the Sony Alpha range are quite specialised, the A7 series have typically been more like all-rounders. Accordingly, the A7 III is a balanced camera, a strong stills shooter and a capable video option.
It comes fully able to shoot 4K video using the full width of its sensor, the S-Log gamma profiles and the ability to shoot Full HD video at 120fps. Resolution is higher than that of the A7S II thanks to the 24.2MP back-illuminated sensor. This means a better high-resolution image and quality for photographers, at the cost of less noise control. Speaking of which, the A7 III has a maximum ISO ceiling of 204,800, not quite reaching the heights of the A7S II.
The A7 III and the A7S II full-frame cameras both use the same electronic viewfinder (OLED 2,360k dots, 0.78x magnification). However the A7 III benefits from its later arrival in the form of the amazing AF system inherited from the A9, with 693 phase-detection points. It also features the same 5-axis stabilisation system as the other camera, with a slight bump in performance. It has a rear LCD screen that is a little lower than that of the A7S II, but benefits from touch functionality. Even battery life has been improved — the A7 III will record for a maximum of 125 minutes; the A7S II for up to about 60.
Sony A7 III key advantages
– Newer camera with more features
– Higher resolution
– Better battery life
Conclusion
At the end of the day, it’s about your workflow balance, and what shooting situations you’ll find yourself in. If you’re going to be shooting mostly stills and dabbling in video, the Sony A7 III is the best buy. If your balance is likely to tip the other way and you have to choose which Sony is for video then the A7S II is the better choice given its video capabilities.
The fact that the A7 III is a newer camera also means that it benefits from technological and performance improvements. Though not in any danger of topping the impressive low-light performance of the A7S II, which is incredibly tough to argue with. There’s a reason it has been used for large-scale professional productions like the BBC’s Blue Planet.
The important point to remember, however, is that whichever of these cameras you choose, you’re getting an excellent machine. Happy shooting!
As more and more photographers look to add video to the toolkit they offer their clients, you may have been thinking it’s time to get you a camera that can do both — shoot beautiful stills and gorgeous video.
Many manufacturers have stepped up to fill this niche, not least among which is Canon, who have produced plenty of muscly DSLRs with serious stills and video capabilities. We’re going to be looking at two of those today to give you an idea of which one might be the better buy for your needs — the Canon EOS 5D Mark IV, latest iteration in the series that kickstarted DSLR video, and the Canon EOS-1D X Mark II, the firm’s flagship workhorse camera for the pro photographer.
Let’s get started…
Common features
The first thing we should deal with is that these are two pro-spec DSLRs from the same manufacturer, and as such they share in common many features that will benefit the videographer. So let’s tick these off.
Both the Canon EOS 5D Mark IV and the Canon EOS-1D X Mark II use a full-frame sensor, meaning you won’t run into any of the problems that plague small-sensor cameras, such as high noise or poor low-light performance. While the sensors’ resolutions aren’t the same (more on that in a moment), their sizes at least are identical.
Both the 5D IV and the 1D X II can shoot 4K video and super-slow motion 120fps video, though there are differences in their footage in both cases, which we’ll come on to. The cameras both carry dual card slots — useful both for long days shooting and for an extra layer of backup redundancy — and both have jacks for external microphones and headphones. You’ll also find external HDMI outs on both cameras.
Both cameras also have capable autofocus thanks to on-sensor phase detections, as well as touch-sensitive controls on their rear LCD screens.
Of course, there are a few things worth mentioning that both cameras lack as well. Neither option will give you in-body image stabilisation, nor a tiltable LCD screen.
Build and handling
Though the cameras share DSLR-style build and handling, they are significantly different in a number of ways, the most glaring of which is visually obvious at a glance. The 1D X II is significantly larger and heavier than the 5D IV, weighing 1530g compared to 830g, and measuring 168mm in height compared to 116mm. Both cameras are pretty heavy and bulky, but the 5D Mark IV has an edge in being significantly lighter.
Part of this heavier build of the larger camera is the fact that it can take an absolute kicking — the 1D X II is designed as a workhorse camera, able to be dropped, scuffed and used in bad weather without compromising its operability. The 5D Mark IV is fairly rugged too, but the 1D X II has the edge in toughness.
There’s more as well — if you want to stream your footage quickly, you’ll really need Wi-Fi connectivity, which the EOS 5D Mark IV has, but the EOS 1D X notably lacks. This can be corrected with an accessory, however.
Footage
This is all well and good, you might think, but what about the actual video? What do these things actually shoot.
Well, as we mentioned earlier, there are similarities and differences here. Both the 5D Mark IV and the 1D X Mark II shoot 4K video, however the 1D X II does so at a higher maximum frame rate of 60p, compared to 30p on the 5D IV. The 4K on the 1D X II is also captured at a more favourable crop factor of 1.3x, compared to a slightly painful 1.75x on the 5D IV. The 5D IV benefits, however, from a 30.4MP sensor, compared to 20.2MP on the 1D X Mark II, and the footage it produces is appropriately lovely.
As we mentioned earlier, both cameras can shoot super-slow motion video at 120fps, however, the 1D X Mark II can do this at 1080p Full HD resolution, while users of the 5D Mark IV have to make do with it at a slightly disappointing 720p.
However, before you go thinking the 1D X runs away with it, there’s one additional important difference to note about these two cameras, which may help you make up your mind either way. Canon offers a flat colour profile specifically optimised for shooting video called Canon Log Gamma, or more commonly C-Log. This is a profile designed to deliver as flat an image as possible in order to retain maximum dynamic range and provide the maximum options for colour grading in post-production. Currently, this option is only available as an optional upgrade for the EOS 5D Mark IV, and not the EOS-1D X Mark II. You can read more about C-Log in our close-up article to better assess whether or not this is a deal-breaker for you. https://www.fixationuk.com/close-up-c-log-on-the-eos-5d-mk-iv/
Conclusion
If you’re a run-and-gun photographer looking to add video into the mix, who isn’t likely to bother doing much grading of the footage in post-production, but might want full use of cool action-oriented features like super-slow motion, go with the Canon EOS 1D X Mark II. Lots of the advantages it confers for stills photographers transfer well to video, and it will perform just as reliably for your video work as it will for your stills.
If you need more control over your final video, if you’re going to take the time to grade it and thus need every bit of dynamic range you can get — if perhaps you’re going to spend more time in indoor environments, or in situations where the weight of your gear is an issue, go with the 5D Mark IV. It does what it does efficiently and well, and you’ll find its footage a pleasure to work with.
Want to use a mirrorless camera for filmmaking? We provide some advice and our top picks.
There’s a case to be made that if you want to see where the real innovation in photography is happening right now, you should look to mirrorless cameras, and the same can be argued for video shooting. In a relatively short space of time, mirrorless cameras have gone from cheap point-and-shoot junk to serious players threatening to overtake the DSLR heavy hitters.
Mirrorless cameras have a great deal going for them, as we shall see. They’re small, light, often come with great lens options and are increasingly packed with video-specific features and functionality. If you shoot video on a DSLR-sized rig, it may be time to start thinking about making the jump to mirrorless. However, there’s a lot to consider, and not all of it is positive — like anything, mirrorless cameras come with their advantages and disadvantages. In this blog, we’re going to sort through a few of those for you, before recommending some of our favourite mirrorless models for video shooters.
One thing worth mentioning, before we start, is that the term ‘mirrorless camera’ encompasses a huge number of makes and models, many of which are radically different from one another. We will also be predominantly comparing shooting video on mirrorless cameras with shooting video on DSLRs, as the two have broadly similar price points and tend to be used by similar kinds of productions.
Everything clear? Then let’s get started.
Mirrorless for video — Pros and Cons
Pro: Light and portable
This is one of the main advantages people talk about when they talk about mirrorless cameras versus DSLRs — the simple fact that mirrorless cameras and lenses tend to be a lot smaller and lighter. You can get 4K video out of tiny bodies like Panasonic’s smaller Lumix G cameras.
Con: Sensors often smaller
Worth mentioning again — this is a generalisation. Many mirrorless come with full-frame sensors, notably Sony’s Alpha 7 models, and some even larger, such as Fujifilm’s medium format GFX-50S. However, quite a few of the most lauded and video-friendly mirrorless cameras such as the Panasonic Lumix GH5 are part of the Micro Four Thirds system, and thus use MIcro Four Thirds and Four Thirds lenses. The mirrorless Fujifilm X cameras, while stunning in many ways, also use sensors no larger than APS-C. This means the cameras can struggle to perform in low-light, producing noisier images than their large-sensor counterparts.
Pro: Electronic viewfinders
DSLR cameras use optical viewfinders. While many stills photographers prefer these to their electronic counterparts, the fact that a DSLR needs to keep its mirror continuously locked up when shooting video knocks its optical viewfinder out of commission. The electronic viewfinders on mirrorless cameras suffer no such difficulties and can be freely used while shooting video.
Pro: Choice of model
The sheer weight of options when it comes to mirrorless cameras is truly staggering. Even if we take just one brand — Panasonic — as an example, we can see the difference between the rugged, filmmaker-focused GH5 and the diminutive, pocketable GX800, both of which are capable of shooting 4K video. You can pick up the low-light monster that is the Sony A7S, or the polished all-rounders made by Panasonic. A great deal of choice indeed!
Pro: Lens adaptability
The short flange-focal distance of mirrorless cameras compared to DSLRs means that it’s much easier to adapt lenses to fit to them. This means that mirrorless users not only have access to the huge mirrorless lens ranges such as Micro Four Thirds, but can also expand to borrow optics from elsewhere much more easily than DSLRs.
Con: Fewer accessories than DSLRs
There are plenty of accessories available that will fit mirrorless cameras, however, in general, many photographic accessories are designed for DSLRs and their counterpart lenses — especially battery grips, filters, etc. The situation is slowly changing, with more bespoke accessories arriving for the mirrorless scene, but for now, DSLRs have the edge in this department.
Con: Smaller can mean less rugged
One of the nice things about chunky DSLRs like the Nikon D850 is that they can take a decent pounding and are well-equipped to survive in difficult weather conditions. Mirrorless cameras tend to be a little more fragile, and depending on what model you pick up, you will likely have to be a little more careful with it than you might with a DSLR.
Which are the best mirrorless cameras for filmmakers?
If you think a mirrorless might be what your setup needs, then congratulations! You’re now onto the most difficult stage of the process — deciding what camera suits your needs. As we mentioned earlier, one of the best things about mirrorless is the sheer wealth of choice on offer, however, this can make things difficult and overwhelming when it comes to selecting a camera.
To help get you started, we’ve selected five of our favourite mirrorless cameras available for filmmakers right now. We’ve based our criteria on a number of factors, including price, so these aren’t necessarily the most powerful or highly specced, however, we think any and all of them will allow you to produce fantastic videos.
Panasonic Lumix GH5
Right now, the Panasonic Lumix GH5 makes a convincing case for itself as the best mirrorless camera for video that money can buy. It’s able to shoot 4K video at 60fps using the full width of the frame, can shoot in 10-bit colour with 4:2:2 chroma subsampling for rich colour information, and has a full-size HDMI socket, rather than the mini-HDMI that was on the GH4. It offers a flat V-log profile which Panasonic says should increase the dynamic range to 12 stops. Cutting through the technical jargon though, what you need to know is that this is an outstanding, dependable camera that will produce terrific footage in every situation.
Sony a7S II
In the Sony Alpha stable, full of specialised cameras that excel at specific tasks, the a7S cameras are the low-light monsters. Its super-high maximum ISO level of 409,600 can quite literally turn night into day, and it also comes boasting S-Gamut3.Cine/S-Log3 colour profiles, a new Gamma Assist Display, enhanced slow-motion recording and more. Its 12.2MP sensor eschews high resolutions in favour of light-gathering, and works with the Bionz X processor to deliver 5-axis image stabilisation. Able to record 120 fps at 100 Mbps with full pixel readout, without pixel binning, the a7S II is a hugely versatile video producer.
Panasonic Lumix G7
If your budget doesn’t stretch to these multi-thousand behemoths, then the Panasonic Lumix G7 will suit you perfectly. This powerful machine is capable of shooting 4K video and has a tilt-and-swivel touchscreen for optimal operability. Rounding out the package is a handy electronic viewfinder and a well-built body with a solid ergonomic handgrip. For the price, this is a great mirrorless filmmaking camera, and is a solid starter choice.
Fujifilm X-T2 / X-T20
If you’d like to get into the lovely Fujifilm X system to shoot some video, the X-T2 is a solid buy. Fujifilm has created the F-Log gamma, a flat profile that marks out the X series as more serious video options than they have been in the past. The X-T2 also boasts a strong 12 stops of dynamic range and the absolutely outstanding image quality that users have come to expect from the series. If your budget doesn’t stretch to the X-T2, then it’s also worth looking at the X-T20, which is basically a miniature version of the X-T2, lacking a few features like some control dials and the option of a battery grip, but still able to produce fantastic footage.
Sony a6500
Sony’s speedy APS-C model is a great choice for videographers, able to shoot 4K for decent lengths of time, and also boasting 5-axis image stabilisation, S-Log, clean HDMI out and more. The a6500 handles well thanks to a comfortable grip, making it useful for handheld shooting, and its low-light performance is also impressive. The touchscreen LCD is another handy feature, making for smooth operability.
Most cameras, especially professional and enthusiast models, come supplied with a camera strap. A camera strap isn’t something you spend too much time thinking about; they’re usually attached the day you get your camera and promptly forgotten.
The main benefit of using a camera strap is that you don’t have to keep holding the camera with your hands. You can your hands for other things, while the camera hangs safely from the strap. However if you’re in the habit of carrying a couple of bodies over your shoulder, chances are your straps will have become twisted at some point and camera straps can be quite annoying when placing your camera back into a camera bag. The strap often needs to be carefully folded and if it’s not, it can become twisted. This, in turn, can often lead to fraying – and a frayed strap is one that can let you down when you least expect.
This is something our technicians see every week when cameras are brought in for servicing or sensor cleaning.
Many customers buying new cameras struggle to fit their straps in the correct way to ensure they won`t come undone. We are always happy to fit straps for you, even if you haven’t bought the equipment from us. We might be a company that earns our living repairing equipment, but we hate seeing a customer who hasn’t fitted their strap correctly, and it has slipped or come undone and damaged a camera or lens.
A camera strap can act like a failsafe. In the unfortunate event that you drop your camera, the strap will prevent it from falling to the floor. While you should always aim to keep a good grip on your camera, in busy areas such as city centers or crowded train platforms, you can easily take an unexpected knock and lose your grip. A camera strap helps in these situations, and also provides protection from opportunistic thieves.
However, straps can break. Depending on the strap, there may be multiple points of possible failure. Some use a split ring between the camera strap lugs and the strap itself. The split in the split ring may be widened through use, causing either the strap to come off the ring or the ring to come off the camera. A strap can also work its way backwards through the slider and come loose. Stitching on straps can break, as can the actual material from which they are constructed.
Replacement straps are not expensive – certainly less than the cost of repairing or replacing your kit if the strap gives way! We sell genuine straps from Canon, Nikon and Sony, and many of the major manufacturers make stronger straps that are specifically designed for telephoto lenses. This is useful if you are habitually kitting yourself out with a heavier setup!
It’s important to get your strap from a trusted manufacturer, as this will ensure you’re getting a quality product. We stock reputable strap-makers like Think Tank, Domke, Black Rapid and Op-Tech, all of whom produce fantastic all-weather straps.
We’ve also picked out a few great straps and strap accessories you might not have heard of! These are a great way to give your camera some additional protection.
Designed to keep your camera strap and shoulder pad securely in place even in the most extreme of circumstances.
Many Fixation customers love Peak Design straps because they are versatile, very strong and simple to use. Often when photographers collect their new gear, they will choose these over the straps supplied by the manufacturer, and we keep them in stock for this reason.
If there’s one thing to remember from this blog, it’s this: always check your camera’s anchor points when you have your gear attached to a strap. Replacing a fraying anchor or even a whole strap is not a huge expense, but replacing or repairing your camera body or lens almost certainly will be. So check, and check again!
Through three generations of the X-Trans sensor, through many sophisticated viewfinders, and through a smorgasbord of retro-styled camera bodies, the Fujifilm X series has come a long way. Comprising a mix of compacts and CSCs, the series blends vintage cool with serious imaging power.
If you’re new to the series, it’s easy to get lost just finding a place to begin. Read on as we break down the different camera lines within the series, and let us help you find the right Fuji X model for you…
The X100 series
It all began in 2011. Photographers and journalists alike were caught off-guard by one particular announcement at Photokina – a new compact camera from Fujifilm, eschewing the clunky, DSLR-style handling of previous models in favour of a sleek, retro-inspired design that would become the series’ hallmark. That was the Fujifilm X100, then known as the FujifilmFinePix X100, an ungainly middle name that would swiftly be dropped.
Pairing a fixed 35mm lens with a 12.3MP APS-C CMOS sensor (the famous X-Trans sensor debuted a little later), the X100 uses a hybrid optical and electrical viewfinder, allowing the user to switch between the two modes at will.
The X100 was followed up in 2013 with the X100S, incorporating the second generation of the X-Trans CMOS sensor, with 16.3MP of resolution and no optical low-pass filter. The sensor allows for fast phase-detection autofocus with acquisition times as low as 0.08sec. Fujifilm also fine-tuned the controls, responding to some of the criticisms of the X100.
In 2014, Fujifilm updated the line with the X100T, which used the same sensor and lens combination as the X100S but added the option of an electronic shutter capable of shooting at up to 1/32,000sec, as well as built-in Wi-Fi, a more advanced viewfinder, face recognition and more.
Now, this is where it gets slightly confusing, but bear with us. In 2016 Fuji released the X70, which sounds as though it should belong with the X10, X20 and others of that nature, but doesn’t. Whereas those are small zoom compacts, the X70 sports a prime lens and is more like a mini-X100T. So, despite, the name, it really belongs with the rest of the X100 cameras.
The most recent model in the line is the X100F, which was announced in January 2017. The significant gap between models meant considerable improvements, among them the third generation 24.3MP X-Trans III CMOS sensor and the X-Processor Pro image engine. The X100F wowed reviewers and photographers with its fast and accurate 91-point autofocus system, and its large viewfinder with a 60fps refresh rate.
Fujifilm X100F
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 8fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X70
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 18.5mm Fujinon lens (equivalent to 28mm on a 35mm format)
Burst speed: 8fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: No
Fujifilm X100T
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X100S
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 6fps
ISO range: 200-6400
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X100
Sensor: 12MP APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 5fps
ISO range: 200-6400 (expandable to 100-12,800)
Viewfinder: 1.44-million-dot hybrid viewfinder
The X-Pro series
The Fujifilm X-Pro1 was the first indication that the X-series could be the real deal for pros, being the first X camera to take XF lenses. Launching in 2012, its sturdy, pro-quality build was an indicator of the quality within. It was the first camera to use the now-famous X-Trans sensor, and its resolutely dial-based control system won over legions of photographers who wanted a tactile handling experience. Reviews praised its high-ISO performance and its hybrid viewfinder, and the X-Pro1 was a deserved smash hit.
Photographers had to wait four long years for the difficult second album, but happily Fujifilm didn’t bottle the sequel. The X-Pro2 was an update with everything pro photographers wanted, delivering the latest X-Trans sensor to provide lossless compressed 14-bit Raw capture, as well as a wider ISO sensitivity range which could be used for both Raw and JPEG shooting (many previous X-series models would only shoot JPEGs) in the higher ISO bands.
Fujifilm X-Pro2
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-25,600)
Viewfinder: 3.69-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
Fujifilm X-Pro1
Sensor: 16MP X-Trans CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: 1.44-million-dot hybrid viewfinder
Max video resolution: Full HD at 324p
The X-H series
The Fujifilm X-series has unquestionably been an enormous success for photographers, revitalising the brand’s fortunes with a superb selection of stylish cameras. However, there’s generally not been a lot to tempt videographers away from reliable workhorses like Canon or exciting upstarts like Sony.
The Fujifilm X-H1 represents the first real attempt to change that. Announced in 2018, the X-H1 is capable of 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps, with an HDMI out and a new dedicated video menu. Full HD video can also be captured at the super slow rate of 120fps, while there’s also F-log video recording direct-to-card available. All of Fuji’s film simulation modes can be used on video footage, and there’s an external microphone socket as well as a headphone jack for monitoring audio.
The X-H1 is also the first in the X series to come packing in-body image stabilisation (IBIS), and it has an overhauled design with a larger grip and new leaf-spring shutter release button. The shutter sound is also the quietest in Fujifilm’s stable.
The X-H1 represents an exciting move forward for the X-series, and promises that Fujifilm isn’t done innovating just yet.
Fujifilm X-H1
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-25,600)
Viewfinder: 3.69-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
The X-E series
After the much-hyped announcement of the X-Pro1, enthusiast and amateur photographers were very interested to know when they could get hold of an interchangeable-lens X-series camera that wouldn’t cost them the earth. That came in the form of the X-E1, a slimmed down X-Pro1 that gave prospective X-system users a second body option. It used an EVF instead of the hybrid viewfinder of the X-Pro1.
This was followed up with the X-E2, boasting 60 improvements over its predecessor including the X-Trans II sensor, built-in Wi-Fi and an improved EVF. Fujifilm refreshed this camera with a minor update in 2016 — the X-E2S, which boasted a few tine-ups such as a higher ISO ceiling, improved autofocus and a new electronic shutter offering maximum shooting speeds of 1/32,000sec.
The following year, Fujifilm delivered the X-E3, a more comprehensive update with the latest in sensor technology. A larger shooting buffer, a faster autofocusing algorithm for improved tracking, 4K video recording and a redesigned ergonomic body were just some of the improvements that made the X-E3 as well-received as the cameras that came before.
Fujifilm X-E3
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
Fujifilm X-E2S
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 7fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
Fujifilm X-E2
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Following the success of the X-Pro1, Fujifilm set about bolstering its high-end offering with the release of the X-T1 in 2014. The 16.3MP X-Trans CMOS II sensor and X-Processor II are housed within a weather-resistant body designed for rugged, outdoor shooting, with 75 seals designed to keep out dust and water. Add on a beefed up LCD and viewfinder, an optional battery grip and improvements in burst shooting and AF speed (a lean 0.08 seconds), and you’ve got a camera with the imaging spec of contemporaries like the X-E2, but with the build, features and ergonomics required by pros.
Of course, not everyone can afford the pro price tag, and Fujifilm went about wooing those with a little less cash to flash by introducing a smaller counterpart to the X-T1 — the X-T10. Featuring the same imaging internals as its bigger brother, the X-T10 provides a compromise with a smaller viewfinder and LCD, as well as a generally smaller body that lacks weather sealing.
When it came time to update the X-T1, Fujifilm delivered the superb X-T2, outfitted with the latest-generation sensor and an overhauled AF system, as well as a viewfinder offering twice the brightness of the X-T1’s. The X-T2 was also the first member of the X series to offer 4K video recording, shooting a bit rate of 100Mbps and at a maximum resolution of 30p.
In a move that surprised nobody, Fujifilm also brought out a miniature version of the X-T2, the X-T20. It followed the format of the X-T10, using the same sensor as its bigger brother, but skipping a few features such as a second card slot and a fully articulating screen in order to deliver a smaller camera, for a lower price.
Fujifilm X-T20
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K at 30p
Fujifilm X-T2
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K at 30p
Fujifilm X-T10
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 8fps
ISO range: 200-6,400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
Fujifilm X-T1
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 8fps
ISO range: 200-6,400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
The XQ series
A selection of dinky, pocketable compacts, the Fujifilm XQ cameras are ideal for enthusiasts who need something light. Despite its size, the XQ1 manages to pack in some advanced features such as Raw shooting, while its successor the XQ2 adds the Classic Chrome film simulation mode and a retro black finish.
Fujifilm XQ2
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
Burst speed: 12fps
ISO range: 100-3200 (expandable to 12,800)
Viewfinder: No
Fujifilm XQ1
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
Burst speed: 12fps
ISO range: 100-3200 (expandable to 12,800)
Viewfinder: No
The X-A series
The X-A compact system cameras are the cheapest interchangeable lens cameras in the Fuji line-up, designed with the entry-level user in mind. The range has gone through a fair few models: first the X-A1 in 2013, which offered a small and light body to use X lenses on, without the X-Trans sensor. This was followed by the X-A2, which was billed as a selfie camera thanks to its about-facing LCD screen and variety of selfie-modes. Fujifilm next bulked out the line with a more advanced offering, the X-A3, and a new slimmed-down entry-level model, the X-A10. Finally, in 2018 came the X-A5, which brought in phase-detect AF tracking and limited 4K functionality.
Fujifilm X-A5
Sensor: 24.2MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: No
Max video resolution: 4K at 15p (max 5 minutes)
Fujifilm X-A10
Sensor: 16.3MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
Fujifilm X-A3
Sensor: 24.2MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 60p
Fujifilm X-A2
Sensor: 16MP CMOS APS-C sensor
Burst speed: 5.6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
Fujifilm X-A1
Sensor: 16MP CMOS APS-C sensor
Burst speed: 5.6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
The X_0 series
The X_0 cameras are another compact range, smaller and less prestigious than the X100 series, with zoom lenses rather than primes. With more affordable price tags, they are ideal for the beginning photographer or light traveller, and have actually been around more or less since the series’ inception, with the FinePixX10 debuting shortly after the X100 in 2011, sporting a smaller 2/3-inch sensor and a 28-112mm equivalent lens. This was replaced in 2013 by the X20, which sported a new 2/3-inch X-Trans CMOS II sensor and a new viewfinder, and then the X30 the following year, which ditched the optical viewfinder in favour of an electronic model.
Fujifilm X30
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 7.1-28.4mm Fujinon lens (equivalent to 28-112mm on a 35mm format)
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