My friend used to shoot on the full-frame Nikon D800 and now he starts to use the Fujifilm X-T2. What is the result?

A significant part of the photographers does not see the “magic picture” of the full-frame image and would be pleased to remain on the APS-C camera, since the cameras of this type are lighter, smaller and cost less. The main reason why experienced amateurs decide on changing the format is 2-2.5 times higher Low-Light ISO level on a full frame, which generates significant growth as an image quality when shooting indoors without flash, sports competitions, children’s morning performances and wild animals, etc.; that is in all those situations where, in a not very good light, a short shutter speed is required, provided by an increase in ISO. Now a new mirrorless model of the Fujifilm X-T2 comes to the market, which today, according to numerous reviews and, based on examples of pictures on the Internet, the Low-Light ISO is approaching 3200 value, like the full-frame cameras by Nikon and Sony. The long-time reader of the website, Pavel Chertalev, recently took this camera for a test drive, after which he immediately sold his full-frame Nikon D800 with all the lenses, and switched to the Fuji X-T2. Let us look at the samples of his pictures, analyze what are the pros and cons of this a professional-level mirrorless APS-C camera, who can buy it, and who, perhaps, should refrain.

The article will be voluminous in terms of the amount of text, because I wanted to post enough analytical information that would help someone to make a choice in favor of a particular model. The content will be as follows:

  1. Analysis of the strengths and weaknesses of mirrorless cameras in comparison with DSLR.
  2. Overview of the technical characteristics of the flagship Fujifilm X-T2 and comparison with the parameters of the second top model of this manufacturer the Fujifilm X-Pro2.
  3. We understand how the X-T2 differs from the younger mirrorless model X-T20.
  4. Let us try to understand in what cases mirrorless “Fujifilm X” is obviously not worth buying. We compare with the top DX-cameras from Canon and Nikon.
  5. The conclusion.

Well, before we get to the review, I propose to see what kind of pictures Paul got when he owned the Nikon D800 camera and different lenses. In the comments to the article with a story how was created the Nikon D750, you can read Paul’s first review of the new Fujifilm X-T2 kit with the Fujifilm XF 16-55mm f/2.8 R LM WR, the Fujifilm XF 50-140mm f/2.8 R LM OIS WR and the external flash Nissin i40 (sorry, the link will be provided later).

1. The Fujifilm X-T2 camera with the Fujifilm XF 50-140mm f/2.8 telephoto lens. Review and sample photos.

1. The Fujifilm X-T2 camera with the Fujifilm XF 50-140mm f/2.8 telephoto lens. Review and sample photos.

2. Happy owner of the Fujifilm X-T2 camera with the Fujifilm XF 16-55mm f/2.8 lens and an external flash Nissin i40. Settings: shutter speed 1/80 sec., exposure compensation 0EV, f/6.4, ISO 1600, the flash did not fire, the focal length is 24.2 mm.

2. Happy owner of the Fujifilm X-T2 camera with the Fujifilm XF 16-55mm f/2.8 lens and an external flash Nissin i40. Settings: shutter speed 1/80 sec., exposure compensation 0EV, f/6.4, ISO 1600, the flash did not fire, the focal length is 24.2 mm.

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1. Pros and cons of DSLRs and mirrorless

When the first mirrorless cameras appeared, the amateurs met them rather gelid, since there were many flaws in them. However, time is running out, manufacturers are investing huge amounts in new developments, in improving their cameras, in advertising campaigns that popularize mirrorless interchangeable lens camera. Let’s try to analyze the strengths and weaknesses of DSLRs and mirrorless to better understand what makes some photographers move to the Fujifilm X-T2.

1.1. Limitations typical for DSLR cameras

DSLRs have the following weaknesses in their design due to the fact they have a mirror:

  1. Large dimensions: rotating mirror and electronic shutter do not allow greatly reducing the size of the camera.
  2. Weight: the body of modern DSLRs is made of magnesium alloy or carbon fiber. Nevertheless, the mirror and pentaprism occupy a lot of space, and weigh a lot. In addition, lenses for DSLRs, especially for a full-frame, are larger and heavier than for APS-C.
  3. The complexity of the design of the mirror and the mechanical shutter: in the case of the DSLR, the mirror then rises and falls to allow the light flux to enter the sensor. All this causes huge problems for designers: mirror’s clap, braking mechanism, limitations on the speed of continuous shooting, movement of air inside the body, causing contamination of the sensor, service complexity troubles.

Read the interview with a team of engineers who took part in the development of the Nikon D750 DSLR camera – it describes the reasons why it was not possible to achieve a fastest shutter speed of 1/8000 in this camera (the link will be provided later).

  1. There is no way to see in advance how the picture will look: when we look at the optical viewfinder, we cannot understand whether the exposure is sufficient, whether the image will be overexposed or underexposed. We are forced to focus on the prompt of the metering system, but the automation often works incorrectly.
  2. Problems with focusing accuracy when using phase detectors: phase sensors are used in DSLR, and with the slightest inaccuracy in the assembly of the “body-lens system”, front or back focus appears.
  3. Price: manufacturers, under the pressure of competitors from mirrorless, are struggling to reduce their costs and make the cost of DSLR cameras optimal. Nevertheless, in the design of the DSLRs, complicated electromechanical components are used, potentially limiting the ability to reduce the cost of producing this type of camera.
3. Shooting portraits on the Fujifilm X-T2 with high ISO. Camera settings: 1/80, -0.33, 2.8, 4000, 18.7

3. Shooting portraits on the Fujifilm X-T2 with high ISO. Camera settings: 1/80, -0.33, 2.8, 4000, 18.7

4. Test the Fujifilm X-T2 on high ISO. 1/80, -0.33, 2.8, 2500, 55.

4. Test the Fujifilm X-T2 on high ISO. 1/80, -0.33, 2.8, 2500, 55.

Photo 5. How does the Fujifilm X-T2 camera behaves at high ISO? Shooting without an external flash. Settings: 1/100, 2.8, 5000, 26.6.

Photo 5. How does the Fujifilm X-T2 camera behaves at high ISO? Shooting without an external flash. Settings: 1/100, 2.8, 5000, 26.6.

Photo 6. Fuji X-T2 sensor test on ISO 6400. 1/100, 2.8, 6400, 19.4

Photo 6. Fuji X-T2 sensor test on ISO 6400. 1/100, 2.8, 6400, 19.4

1.2. Strengths of mirrorless cameras?

Many experts of the photography market predict that in the near future mirrorless cameras will take the main share in the preferences of beginners and advanced amateur photographers. Already now, we see that both Canon and Nikon with each new model cannot surprise with something new: the revolution does not happen – well, they implemented Wi-Fi and GPS, increased the buffer capacity… Accuracy and focus speed – at the maximum possible, the processors allow you to shoot HD Video at 60 fps mode.

The mirrorless cameras have great potential for the future, since they are fundamentally devoid of some of the drawbacks that are characteristic of the DSLRs.

  1. Less size and weight: no mirror and pentaprism inside. Many models are APS-C type, and for this kind of camera, lenses with less weight and dimensions are manufactured.
  2. Inside there is no mechanism for driving the mirror (in fact, there are two mirrors in the DSLR), so nothing slams, which leads to the following things:
    • The opportunity of low sound or soundess shooting.
    • No vibrations from the clap of the mirror.
    • Less contamination of the sensor, since nothing moves the air.
    • Easier to get to the sensor for cleaning.
    • There are fewer restrictions for increasing the speed of continuous shooting. Therefore, potentially, mirrorless cameras can shoot faster than 14 fps, which today the Fujifilm X-T2.
    • Less components in the design – more reliability and easier maintenance.
  3. Preview image: looking into the electronic viewfinder or in the tilting screen, you immediately see the picture that will be obtained after pressing the shutter release button: WB, saturation and contrast, highlight clipping, etc.
  4. There is no problem with the accuracy of focusing due to phase sensors: the latest mirrorless models come with phase-detect autofocus sensors mounted directly into the camera’s sensor. Since the phase sensor is in the same plane as the camera sensor, there are no problems with the front or back focus.
  5. Price: theoretically, the cost of manufacturing mirrorless cameras is lower, since there is no need for precise mechanics (there is no a mirror), and fewer components in the design. However, Sony, Olympus and Fujifilm are forced to invest huge amounts in improving the systems of autofocus, EVF and other technologies, as well as spend money on advertising, overcoming the inertia and mistrust of photographers. Therefore, now the cost of mirrorless is higher than that of DSLRs. Nevertheless, in the future, it definitely has reserves for reduction.
  6. Electronic viewfinder (EVF): experts argue that this component is the greatest competitive advantage of mirrorless, and with its help they will break out, although now EVF is not as good as it could be.
  7. Overlaying information: when we look at the optical viewfinder (OVF) of the DSLR, we see a small amount of data. However, their volume is limited. At the same time in EVF you can lay out much more information: from the histogram to the “focus picking.”
    • Preview of the photo: everything that is displayed on the screen in LiveView mode can be displayed on the EVF, which allows the photographer to check the photo without taking his eyes off the viewfinder.
    • Image Viewer: you saw how professional video professionals take pictures on a DSLR in a separate article – to view a picture on an LCD screen on a sunny day you need to buy a special cover. With EVF you can’t worry about the bright external light.
    • Focus Peaking: readers of the blog repeatedly gave a link to a video showing the execution of “Focus Picking” (tinting the color of sharp areas of the image) on the display of the Sony MILCs. However, the same thing can be deduced in EVF, which is impossible in the OVF.
    • Full coverage of the viewfinder: usually in the mirrors in the OVF is lost about 5% of the picture, in the EVF can be shown up to 100%.
    • A much brighter display: how does it focus in the twilight or in the dark through the optical viewfinder? We do not see anything. In cameras with EVF you can turn on the “normal mode”, and visibility will be as in daytime.
    • Digital zooming: when I take pictures of landscapes in LiveView mode on a Samyang 14mm f/2.8 lens, I click the zoom button to enlarge the picture to 100%. It is very convenient to focus manually! So, in the mirrorless, this function can be implemented into the electronic viewfinder, which cannot be done with the OVF.
    • Tracking the face and the eyes. Since the EVF shows what the real picture will look like, you can add a special analysis of the data and the camera will track the person, or even focus on the eye closest to the lens.
    • Potentially unlimited number of focus points: in the article with interviews of Nikon D750 developers, we listened to the opinion of one of the engineers above, which explained why it is impossible to expand the AF point area in the viewfinder. In the mirrorless cameras phase detectors are located directly on the sensor, contrast ones can be placed anywhere.
    • The tracking system for the subject: now in some DSLR appeared the mode of 3D-tracking, but it does not work very well. Given the location right in the sensor of the points of autofocus, there is a possibility that in the near future mirrorless cameras will surpass the DSLR in accuracy of this function, since the information is read directly from the sensor.
    • Risk of eye damage: In the instruction manual for any DSLR you can read a warning about the danger of damage to the retina if you eye at the sun through the OVF. In the case of EVF there is no such danger.
Picture 7. Another example of shooting on the Fuji X-T2 with very high ISO 6400. 1/125, 2.8, 6400, 30.2.

Picture 7. Another example of shooting on the Fuji X-T2 with very high ISO 6400. 1/125, 2.8, 6400, 30.2.

Picture 8. With ISO 6400 the Fuji X-T2 camera produces a very good picture. 1/125, 2.8, 6400, 16.

Picture 8. With ISO 6400 the Fuji X-T2 camera produces a very good picture. 1/125, 2.8, 6400, 16.

Picture 9. Testing the Fujifilm X-T2 in low light conditions and comparing characteristics with competitors. 1/125, -0.67, 2.8, 4000, 28.3.

Picture 9. Testing the Fujifilm X-T2 in low light conditions and comparing characteristics with competitors. 1/125, -0.67, 2.8, 4000, 28.3.

Photo 10. Shooting a dynamic story on the Fujifilm X-T2 digital camera indoors. 1/125, 2.8, 400, 21.3.

Photo 10. Shooting a dynamic story on the Fujifilm X-T2 digital camera indoors. 1/125, 2.8, 400, 21.3.

1.3. Mirrorless cameras limits

The advantages of mirrorless cameras, which are listed above, are for an ideal world. However, today, there are a number of unresolved technological problems specific to this type of camera (Fujifilm X-T2 users claim that some of them are no longer relevant in this new model).

  1. Delay in displaying images in EVF: only the latest versions of mirrorless interchangeable lens cameras (MILC) can boast a more or less normally working electronic viewfinder. Early models caused complaints from amateur photographers.
  2. Continuous autofocus and tracking of the subject: above we said that, potentially, mirrorless cameras in the near future will outpace DSLR by the speed and accuracy of focusing in tracking mode. However, to date, when shooting birds on the fly or shooting sports, DSLR cameras bypass their competitors.
  3. Battery life: due to the need to power the EVF, which is constantly on, the average number of frames that can be shot on a single charge is around 300 shots. In DSLR cameras this number is 1000 or more. Maybe this is not a big problem (for Nikon D5100 I got 450 photos with one charge, and I had enough), and you can buy an extra battery, but it costs money and the weight of the camera bag.
  4. Colored spots: due to the short end of the lenses for the APS-C mirrorless cameras, the light reflects from the sensor to the rear lens and back, so when you take pictures, where the sun is present in the frame, there may be colored spots. Technologically, this problem is unsolvable.
  5. Highly contrasting picture in EVF: most electronic viewfinders have the same contrast as TV screens – lots of black and light, and few halftones. Not a problem, but a nuance.

Despite the large number of positive sides, in general, mirrorless cameras lose today. There are also technical issues, still unsettled, and the difficulties of choice. An owner of a DSLR camera can easily find on the market a huge number of used lenses, suitable for his tasks. Find non-native lenses, flashes, radio synchronizers and other accessories for DSLR is much easier, and the price is likely to be lower than for the mirrorless cameras.

In occasion of “it is easy to find in the market second hand lenses”, probably, I got excited. When I was looking for the Nikon 17-55mm f/2.8G for my cropped Nikon D5100, I was waiting during 2 months, while there will appear a single copy in Ekaterinburg. For a full frame Nikon D610 the Nikon 24-70mm f/2.8 zoom lens could not be found, I took a new one. On December 2016, I decided to take a Nikon 70-200mm f/2.8G and a teleconverter TC-14E ​​II for a future safari trip in India. In Ekaterinburg did not have it, but Chelyabinsk, Tyumen and Perm had one piece only. For 3 million people there are only 3 used lenses! I had not found already used extender that is why I had to go to Moscow (1800 km from my home). As a result, the TC-14E ​​II cost was 50% cheaper than the new one. Now look how much in the market offers for used telephoto zoom Fujifilm XF 50-140mm f/2.8, and at what price they are offered… 

Nevertheless, mirrorless cameras are aggressively fighting for a place in the sun. Until recently, the choice of lenses was not wide, there was no flash, but today the situation has become much better. Moreover, more and more owners of large and heavy DSLR cameras switch to light and technological compact mirrorless cameras.

11. Example of a photograph taken on the Fujifilm X-T2 with an external flash Nissin i40. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. 1/60, 2.8, 1000, 16.

11. Example of a photograph taken on the Fujifilm X-T2 with an external flash Nissin i40. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. 1/60, 2.8, 1000, 16.

12. Testing the Fujifilm X-T2 with the fast standard KIT lens Fujinon 16-55mm f/2.8 R LM WR and the external flash of Nissin i40.

12. Testing the Fujifilm X-T2 with the fast standard KIT lens Fujinon 16-55mm f/2.8 R LM WR and the external flash of Nissin i40.

13. An example of a photo on the mirrorless Fujifilm X-T2 with the flash Nissin i40. The universal zoom Fujifilm XF 16-55mm f/2.8 was used. Shooting options: 1/60, 2.8, 1000, 51.6

13. An example of a photo on the mirrorless Fujifilm X-T2 with the flash Nissin i40. The universal zoom Fujifilm XF 16-55mm f/2.8 was used. Shooting options: 1/60, 2.8, 1000, 51.6

14. How can I take high-quality photos indoors when there is not enough light? Use an external flash. An example of an image on the Fuji X-T2 with the Fujifilm XF 16-55mm f/2.8 lens and the Nissin i40 flash. 1/60, 1000, 2.8, 23.4.

14. How can I take high-quality photos indoors when there is not enough light? Use an external flash. An example of an image on the Fuji X-T2 with the Fujifilm XF 16-55mm f/2.8 lens and the Nissin i40 flash. 1/60, 1000, 2.8, 23.4.

2. Overview of the compact mirrorless camera Fujifilm X-T2

The Fujifilm X-T2 mirrorless camera, announced on July 7, 2016, is the successor of Fujifilm X-T1, but it has a higher resolution, an improved autofocus system and is excellent for a camera with a body-like DSLR design with video recording capabilities. Like another top model the Fujifilm X-Pro2, the X-T2 is equipped with the same 24.3-megapixel sensor X-Trans CMOS III.

The body of camera is almost completely made of magnesium alloy and has protection from splashes. A high degree of resistance to dust and moisture is achieved through a special seal in the 63 points of the Fuji X-T2. The absence of a low-pass filter in front of the sensor allowed Fuji to declare the highest image clarity among FujiFilm X series cameras.

Picture 15-0. The appearance of the Fujifilm X-T2 camera with the Fujinon XF 35mm F1.4 R lens and the Nissin i40 flash. At the top in the center, there is Fujinon XF 16-55 mm F/2.8 R lens. On the top-right, there is the telephoto lens Fujinon XF 50-140mm F2.8 R LM OIS WR. Below - on the tripod Sirui T-025X with the head C10X.

Picture 15-0. The appearance of the Fujifilm X-T2 camera with the Fujinon XF 35mm F1.4 R lens and the Nissin i40 flash. At the top in the center, there is the Fujinon XF 16-55 mm F/2.8 R lens. On the top-right, there is the telephoto lens Fujinon XF 50-140mm F2.8 R LM OIS WR. Below – on the tripod Sirui T-025X with the head C10X.

The camera comes with a rechargeable Li-ion battery NP-W126S, a BC-W126 battery charger and a EF-X8 flash (guide number 11 @ ISO 200), a bayonet cover, a shoulder strap, a belt clip, a hot shoe cover and a compartment fastening the battery handle, the cover of the synchronization socket and the user’s manual.

For the Fuji X cameras, the standard KIT lens is the Fujinon XC16-50mm F3.5-5.6 OIS II. I had an opinion that Fuji does not make bad lenses – and this model gives an excellent picture. Examples of pictures from Fuji XC16-50 can be seen in the article with a comparative review of Nikon D5100 vs Fujifilm X-M1.

However, experienced photographers know that the image is affected by both the quality of the lens glass and the ability to open at maximum aperture, thereby allowing the ISO to be reduced when shooting. Therefore, buyers of previous models of the top Fuji X-T1 or the Fuji X-Pro1, often in the KIT took Fujinon XF18-55mm F2.8-4 R LM OIS. Well, Paul took the most versatile travel zoom, although it is quite heavy and bulky: the Fujinon XF16-55mm F/2.8 R LM WR.

The owner of the X-T2 has closed the range of long focal lengths by purchasing a universal the Fujinon XF 50-140mm F/2.8 R LM OIS WR that has a field of view on a APS-C similar to a Nikon 70-200mm f/2.8G or a telephoto lens Canon EF 70-200mm f/2.8L on the full frame.

Whatever fast lens do you have, it is impossible to shoot high quality photos indoors without an external flash, and especially when it comes to dynamic scenes. Therefore, immediately with the above optics, Nissin i40 flash was purchased.

15. A comparative overview of the mirrorless digital camera Fujifilm X-T2. An example of a photograph taken with the standard lens Fujifilm XF 16-55mm f/2.8.

15. A comparative overview of the mirrorless digital camera Fujifilm X-T2. An example of a photograph taken with the standard lens Fujifilm XF 16-55mm f/2.8.

16. Test camera the Fuji X-T2. Shooting in low light conditions. The Fujifilm XF 16-55mm f/2.8 fast lens helps not to increase too much ISO.

16. Test camera the Fuji X-T2. Shooting in low light conditions. The Fujifilm XF 16-55mm f/2.8 fast lens helps not to increase too much ISO.

17. Owners of the Fujifilm X-T2 are all a bit strange... Why do we need a fast lens? The Fujifilm XF 50-140mm f/2.8 answers this question: to reduce ISO when shooting in low light conditions. 1/250, -0.33, 2.8, 320, 74.4

17. Owners of the Fujifilm X-T2 are all a bit strange… Why do we need a fast lens? The Fujifilm XF 50-140mm f/2.8 answers this question: to reduce ISO when shooting in low light conditions. 1/250, -0.33, 2.8, 320, 74.4

2.1. Who is the potential owner of the Fujifilm X-T2

The flagship models FujiFilm X series are becoming more popular among professional photographers and photojournalists, and the Fuji X-T2 has all the functionality necessary for such users. It is also suitable for advanced amateurs who want to take advantage of the mirrorless APS-C format camera with both the standard settings for photography and 4K video support.

The choice between the X-T2 and the X-Pro2 models (having the same an APS-C sensors and processor) will be determined by what version of the body you like more and whether you need 4K-video, which can shoot only with the X-T2. The table below compares the capabilities of the X-T2, the X-T1 and the X-Pro2.

Parameter X-T2 X-T1 X-Pro2
Body type DSLR like Classic design
Resolution 24.3 MP 16.3 MP 24.3 MP
Processor X Processor Pro EXR Processor II X Processor Pro
Max image dimension 6000 x 4000 4896 x 3264 6000 x 4000
Max video resolution 3840 x 2160 px 1920 x 1087 px
Natural ISO range ISO 200-12800 ISO 200-6400 ISO 200-12800
Extended ISO range ISO 100-51200
Maximum continuous shooting speed 14 fps with electronic shutter; 11 fps with battery handle, 8 fps in autofocus mode 8 fps in autofocus mode
Hybrid autofocus system 325 point (169 phase sensors) 49 points 273 points (169 with phase sensors)
Memory Cards Two SD / SDHC / SDXC slots, compatible with UHS-I / UHS-11 1 SD / SDHC / SDXC slot compatible with UHS-I / UHS-11 Two SD / SDHC / SDXC, UHS-I, slot 1 slot compatible with UHS-11
Display Tilting display (in two planes (horizontally and vertically)) 1’040’000 dots Vertical inclination

1’040’000 dots

Implimented

1’600’000 dots

Viewfinder Electronic 2’360’000 points using OLED technology, 0.77x magnification, 100% coverage, viewpoint – about 23mm Hybrid optical / electronic, 2’360’000 OLED points, 0.6x magnification, 92% coverage, 16mm point of view
USB Interface  USB 3.0 USB 2.0
Battery / capacity NP-W126S / 340 pictures / charge NP-W126 / 350 pictures / charge
Dimensions 132.5 x 91.8 x 49.2 mm 129.0 x 89.8 x 46.7 mm  140.5 x 82.8 x 45.9 mm
Weight (with battery) 507 grams 440 grams 495 grams

Photographers involved in night photography, for sure, like one of the features of the design of the camera: two settings for long exposures. Since the scale on the disc of the shutter speed is limited to 1 second, for a longer exposure, use the “T” or “B” mode.

In either case, you must install the camera on a tripod to avoid blurring the image. It is also recommended to use the remote control – optional Fujifilm RR-90 remote shutter release (connected via a micro USB connector) or use a standard cable connected to the camera’s shutter button.

When using the “T” (shutter priority) mode, the shutter release button must be kept for the duration of the exposure. During this entire period, the countdown timer is displayed. As soon as the button is released, a picture is taken.

When setting the “B” (bulb) mode, you must manually press the shutter release button at the beginning and at the end of the exposure. The display also shows the time from the beginning of exposure. When the f-number is selected on the disc, the shutter speed is set to 30 seconds. Otherwise, the shutter remains open for up to 60 minutes while the shutter release button remains pressed.

18. Using the Fuji X-T2 to capture a reportage. Wide angle of the Fujifilm XF 16-55mm f/2.8 R LM WR is used to show the viewer where the event occurs. Settings: 1/100, 2.8, 400, 16.

18. Using the Fuji X-T2 to capture a reportage. Wide angle of the Fujifilm XF 16-55mm f/2.8 R LM WR is used to show the viewer where the event occurs. Settings: 1/100, 2.8, 400, 16.

19. Overview of the new mirrorless camera Fujifilm X-T2. An example of a picture on the Fujifilm XF 16-55mm f/2.8 R LM WR. 1/100, 4.5, 100, 28.3

19. Overview of the new mirrorless camera Fujifilm X-T2. An example of a picture on the Fujifilm XF 16-55mm f/2.8 R LM WR. 1/100, 4.5, 100, 28.3

2.2. Design and ergonomics of the mirrorless camera Fujifilm X-T2

The X-T2 is bigger and heavier than its predecessor, it’s different in design and internal improvements. Outside, the X-T2 is reminiscent of the X-T1 cast-protected body made of magnesium and the mass of control discs. The grip handle is slightly larger and there is a massive thumb support on the rear panel for a more convenient and reliable camera placement in the hand.

The lens bayonet occupies most part of the front panel, and the control buttons are dispersed around. These include the lens release button at the bottom of the front panel next to the bayonet, the second function button (Fn2) between it and  AF-assist/timer lamp, the focus mode switch on the opposite side of the lens mount from the shutter button and the flash sync connector (with a removable plug) a little higher.

The first control dial is located at the bottom of the top panel, just below the combined camera shutter release/on/off button. The control discs on the top panel are the same as those of the Fuji X-T1, with the ISO sensitivity/shooting mode dial located to the left of the viewfinder/external flash connector, and the shutter speed and the exposure compensation control dial to the right another function button (Fn1).

Unlike its predecessor, the Fujifilm X-T2 does not have a separate button for video recording. This option is added to the shooting mode selection disc as a separate video recording status. When this option is selected, video recording starts and stops by pressing the shutter release button.

For greater convenience, Fuji made a couple of small but significant changes to the controls on the top panel. Firstly, the ISO control dial and the combined shutter speed dial, and the exposure meter have become larger and slightly higher. The latter was also moved forward to avoid accidental clicking. In the unlocked state, all three drives rotate with a more visible click, so that it’s easier to control the settings used. If you select “A” mode, the shutter speed dial is not automatically locked.

The screen on the rear panel is the same as that of the Fuji X-T1: with a resolution of 1.04 million pixels and the ability to tilt to the horizontal position and down about 45 degrees – it’s convenient to shoot while holding the camera over your head. It can also be tilted in two directions when the camera is held vertically (new function), but the screen is still not touch-sensitive.

Also, without changes (except for the larger rubber eyecup), there was an electronic viewfinder with a resolution of 2.36 million points and a high refresh rate of 100 fps, and a display delay time of 0.005 seconds. The viewfinder’s lag was halved, allowing for continuous shooting in LiveView mode (when viewed on the screen) at speeds of up to 5 fps.

Taking out the viewpoint by 23 mm facilitates the use of the viewfinder for photographers who wear glasses and a 0.77-fold increase in clarity of the image. Dioptric correction in the range from -4 to +2 m-1 will be enough for most amateur photographers.

Most of the controls to the right of the monitor remain the same, although the zoom button in the Focus Assist point on the Fujifilm X-T1 has been replaced with the “Q” button just above, used to call up the quick menu. Its position was taken by the position joystick, similar to that found in the model Fujifilm X-Pro2. It can be used to change the AF point on the screen or to navigate the camera menu. When pressed, you can change the size of the focus area by rotating the control dials on the front or rear panel. According to the users, just appearance of this joystick is a serious reason for buying the X-T2, as the convenience of choosing AF points has increased many times.

The guide bars of the selection panel are located slightly higher and more convenient when pressed. Finally, the control dials on the front and rear panels, like the Fujifilm X-Pro2, can be pressed to toggle between the aperture and exposure compensation settings, magnifying the selected AF area and selecting the manual focus mode.

Now, instead of one memory card slot, there are two SD card slots on the right side panel that are compatible with UHS II class 3 high-speed cards recommended for video recording. The memory card compartment cover is made of hard plastic, has a switch with a lock.

On the opposite side panel are various interface ports. From the top down, there is a 3.5 mm microphone jack, a micro USB 3.0 connector, a micro HDMI port and a remote-release socket. The cover of this compartment is also made of hard plastic, but there is no switch with a lock on it.

On the bottom panel there is a battery compartment, a metal tripod socket (in line with the optical axis of the lens) and a rubberized connector for connection of the Fujifilm VPB-XT2 booster. This accessory was specially designed for the X-T2 and can accommodate two additional batteries, the capacity of which is enough for 1000 shots (if three batteries are installed, including 1 in the camera itself). The camera is able to display the charge level of each battery individually, and can be charged in the battery grip through the supplied power supply.

On the booster grip are also located controls that allow you to operate the camera in an upright position. Here you will find a duplicate shutter release button, a quick menu button, function buttons, as well as front and rear control dials, autofocus and exposure lock buttons, focus control joystick. Additionally there is a 3.5 mm headphone jack on the grip that is not exist on the camera.

20. Using the FujiFilm X-T2 KIT 16-55mm f/2.8 R LM WR for shooting landscapes. 1/85, +0.33, 5.6, 400, 32.2

20. Using the FujiFilm X-T2 KIT 16-55mm f/2.8 R LM WR for shooting landscapes. 1/85, +0.33, 5.6, 400, 32.2

21. Analysis of the differences between the Fujifilm X-T2 and the Fujifilm X-T1.

21. Analysis of the differences between the Fujifilm X-T2 and the Fujifilm X-T1.

22. Overview of features of the Fuji X-T2. Comparison with the Fuji X-Pro2, the X-T20, the -T1 and the X-T10. An example of a photograph taken with the fast zoom lens Fujinon XF 50-140mm f/2.8. Settings:1/180, 5.6, 200, 140

22. Overview of features of the Fuji X-T2. Comparison with the Fuji X-Pro2, the X-T20, the -T1 and the X-T10. An example of a photograph taken with the fast zoom lens Fujinon XF 50-140mm f/2.8. Settings:1/180, 5.6, 200, 140

23. Examples of pictures taken on the Fujifilm X-T2 in different conditions. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. Used settings: 1/70, +0.67, 8.0, 400, 37.6

23. Examples of pictures taken on the Fujifilm X-T2 in different conditions. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. Used settings: 1/70, +0.67, 8.0, 400, 37.6

2.3. What’s new in the Fujifilm X-T2 comparing to the Fujifilm X-T1 and the X-Pro2

In addition to the sensor with a higher resolution, compared to the X-Pro2, the main improvements of the X-T2 are an improved autofocus system, the ability to record 4K-video and support for a faster USB 3.0 interface. These functions distinguish the X-T2 from the X-Pro2, which has the same sensor and processor.

Hybrid phase-contrast autofocus system in the X-T2 has significantly more focus points in comparison with the predecessor the X-T1. When the “Focus area” option is selected in the camera menu, a series of small squares of 13×7 (91 points in total) are displayed on the screen, occupying approximately 65% ​​of the frame. In the central sector of 7×7 there are phase focusing points, occupying almost 40% of the frame.

The further actions depend on the selected AF mode. If you select the “AF area” setting, then you can choose between zones of 3×3, 5×5 or 7×7 pixels within a 25×13 pixel area that is displayed when the joystick is pressed. When you select “Spot AF”, you can select any of the 325 points with the joystick.

All 325 points are used in the “Wide/Tracking” mode, combining the Wide (single-frame AF) mode with Tracking (continuous auto focus). With AF-S, the control algorithms automatically identify and track the area in focus within the point array. With AF-C, the camera continuously monitors the subject while holding it in the center of the frame.

Increasing the retention and tracking speed allowed Fujifilm to assert that the camera can focus in 0.06 seconds. In addition, there are now five AF pre-settings that allow users to determine how the camera responds to the speed and/or direction of the subject’s movement in the frame, and where the camera sets the priority of the focus within the frame. Users can also create and store up to six individual settings, adjusting tracking sensitivity and tracking speed, and switching parameters for the focus area.

Like the Fujifilm X-Pro2, the Fujifilm X-T2 also has a face detection and eye tracking function that allows the photographer to choose how to focus on the right, left, or nearest to the camera eye. Like the AF-S and AF-C modes, manual focus is turned on with the switch on the front of the camera, and photographers can take advantage of various ways of focusing.

The distance scale is displayed along the bottom edge of the screen (both in the viewfinder and on the display), while the white line shows the focus indicator, and the blue line shows the depth of field, each of which changes as the focus and aperture are adjusted. If “Focus checking” is set to “On”, pressing the rear control dial increases the selected area by 2.5 or 6 times.

If you continue to press the disc, the camera will switch to the “Digital Image Sharing” mode, which shows a double image in the center of the frame. Rotating the focus ring allows you to combine these images for accurate manual focus. If you continue to press the disc, the display will switch to the “Focus Peaking” mode, which selects the focused areas. You can select a white, red or blue outline and set the degree of selection to low or high.

The ability to record 4K-video allocates the Fujifilm X-T2 among others; this is the first camera of Fuji X series with such functionality and having a UHD user level resolution of 4K 3840×2160 @ 30/25/24 fps. For recording 4K-video, high-speed UHS class 3 memory cards are recommended and the recording time is limited to 10 minutes. Using the battery grip VPB-XT2 increases the time of continuous video recording up to 30 minutes.

The Fujifilm X-T2 camera can record Full HD video at 50 or 25fps and HD video (1280×720) at a frame rate of up to 50fps for the PAL system. In the first case, the continuous recording time is limited to 15 minutes, in the second – 29 minutes. The video is saved in MOV format with compression of MPEG-4 AVC / H.264 and linear PCM stereo sound 48 kHz. The table below shows all the options available for PAL and NTSC systems.

 

Video Type Frame Size Frame Rate Maximum Recording Time per 8GB / 16GB Card, Minutes
UHD 4K 2160/29.9P 3840 x 2160 (4K) 29.97 fps 9/20
UHD 4K 2160/25P 25 fps
UHD 4K 2160/24P 24 fps
UHD 4K/23.98P 23.98 fps
Full HD 1080/59.94P 1920 x 1080 (Full HD) 59.95 fps 9/20
Full HD 1080/50P 50 fps
Full HD 1080/29.97P 29.97 fps
Full HD 1080/25P 25 fps
Full HD 1080/24P 24 fps
Full HD 1080/23.98P 23.98 fps
HD 720/59.94P 1280 x 720 (HD) 59.95 fps 19/30
HD 720/50P 50 fps
HD 720/29.97P 29.97 fps
HD 720/25P 25 fps
HD 720/24P 24 fps
HD 720/23.98P 23.98 fps

The video recorded in 4K format has a bitrate of 100Mbps; the frame is cropped in width with APS-C of 1.17. For Full HD video, the bitrate is the same, and for HD it is reduced to 50 Mbps. Frames in the format Full HD and HD are cut vertically only to get a 16: 9 aspect ratio.

The video mode is set using the selector dial, and you can shoot video in P, A, S and M. During video recording, the indicator light is on, you can adjust the exposure settings, enter exposure compensation within +/- 2EV and zoom in on the lens.

There are two ways to focus: “multi” (with automatic AF point selection) or “zone” (focus on the selected area).

You can also choose where to record video files: to a memory card or to an attached HDMI recorder (or other device that supports 4K). When a recording device is connected to the camera and a memory card is selected, the video will be written to the card in 4K resolution, and to an HDMI device in Full HD format.

When the HDMI (F-Log) option is selected, 4K video is recorded to the HDMI device without writing to the card. To create a video material suitable for post-processing, a lower gamma value and a color space with a wide coverage are used. The minimum sensitivity is set to ISO 800.

An example of shooting a video on Fujifilm X-T2 camera in 4K format.

The new shutter mechanism shortened the minimum shutter speed to 1/8000, and the flash sync speed was shorten to 1/250 seconds when using a mechanical shutter. The maximum speed of the electronic shutter remains the same as that of the Fujifilm X-T1, and is 1/32000 seconds. Continuous shooting is supported at speeds of up to 8 fps in the Continuous High burst mode or 11 fps when using the battery grip. When the electronic shutter is selected, the continuous shooting speed is up to 14 fps.

The capacity of the buffer memory depends on the frame rate, the image format and the file size. At 8 frames per second, the buffer memory can hold up to 83 high resolution JPEG pictures, 33 files in RAW format with lossless compression or 27 RAW without compression. At a rate of 14 frames per second, the buffer size is 42, 28 and 25 frames, respectively.

The Fujifilm X-T2 has an interval timer for slow motion shooting with the ability to select the interval between frames from 1 second to 24 hours, as far as the battery capacity and memory card capacity allow. A multi-exposure (although the overlay is limited to two frames) is available through the mode selection dial, as well as panoramic shooting and bracketing settings.

Wi-Fi is implemented similarly to the Fujifilm X-Pro2 model. Wireless communication using NFC technology is not supported.

24. Shooting landscapes on the Fuji X-T2 and the universal zoom Fujinon 16-55mm f/2.8.

 1/180, +1.0, 6.4, 200, 19.4.

24. Shooting landscapes on the Fuji X-T2 and the universal zoom Fujinon 16-55mm f/2.8.
Photo 25. Testing the Fujifilm X-T2 + the Fujinon 16-55/2,8 in the street. 1/400, 7.1, 400, 16.

Photo 25. Testing the Fujifilm X-T2 + the Fujinon 16-55/2,8 in the street. 1/400, 7.1, 400, 16.

2.4. Additional accessories for the Fuji X-T2

The Fujifilm X-T2 similar to the Fujifilm X-T1 is sold with an external flash Fujifilm EF-X8, connected via a hot shoe. The flash is small and not very powerful, with a guide number of 6.1 (at ISO 100) and weighs only 41 grams. Its power is enough to illuminate closely located objects, and it can be used as a master flash in studio photography. Synchronization on the front and rear curtain is supported. In addition, you can connect to the camera more powerful flashes from Fuji and other manufacturers.

Optional the Fujifilm VPB-XT2 battery grip has been specially developed for the Fujifilm X-T2 and can be used as additional power supply to the camera battery or to facilitate shooting when the camera is turned to the vertical position. When installing two fully charged batteries, a continuous shooting rate of 14 fps is available, and the maximum frame rate when using a mechanical shutter is increased to 11 fps. The delay time for the shutter release was reduced from 50 to 45 milliseconds.

Using the Fujifilm VPB-XT2 battery grip adds 273 grams to the weight of the camera, and the installation of batteries in it – up to an additional 369 grams, which is approximately 60% of the body weight with the battery installed. If you really need the extra power and performance provided by the battery pack, then such extra weight justifies itself.

The battery grip set includes 2 batteries, AC adapter (AC-9VS) and an extension cable for headphones. You can charge both batteries directly in the grip by connecting the power supply.

26. Shooting on the Fujifilm X-T2 + the Fujifilm XF 16-55mm f/2.8 on a journey. 1/300, +0.33, 7.1, 400, 40.1

26. Shooting on the Fujifilm X-T2 + the Fujifilm XF 16-55mm f/2.8 on a journey. 1/300, +0.33, 7.1, 400, 40.1

27. The Fuji X-T2 camera. The telephoto lens Fujinon 50-140mm f/2.8 allows you to separate the background. 1/1900, +1.0, 2.8, 200, 140.

27. The Fuji X-T2 camera. The telephoto lens Fujinon 50-140mm f/2.8 allows you to separate the background. 1/1900, +1.0, 2.8, 200, 140.

Choosing the Fujifilm X-T2, you have to think what kind of optics you need. Reflections on what the f/2.8 fast lens is superior to the slower version of f/4.0.

In the arsenal of any advanced amateur photographer, there is a “holy trinity”: a kit lens, a wide-angle lens and telephoto lens. Why do I need a wide-angle lens and telephoto lens, how to shoot long-focus optics.

3. The main differences between the Fujifilm X-T2 and the Fujifilm X-T20

The Fujifilm X-T2 is at the top of the nomenclature of mirrorless cameras Fuji X. To meet the needs of amateurs who are not ready to pay for all the advantages of the top X-T2, a simplified version of the Fujifilm X-T20 is offered, which has much in common with its older sister: the newest 24MP APS-C sensor APS-C X-Trans III, an advanced system of hybrid autofocus with adjustable AF modes, video in 4K and 30 fps. But there are also differences that I propose to consider more carefully.

3.1. Housing, buttons and control dials

In the first place, comparing the Fuji X-T2 vs the Fuji X-T20, we see that the first one has large dimensions and weight: 132.5 mm x 91.8 mm x 49.2 mm vs 118.4 mm x 82.8 mm x 41.4 mm; 507 g vs 383 g). Secondly, in the amateur X-T20 there is no dust and moisture protection.

If you look at the top panel of both bodies, you can see that both have control disks, but the implementation scheme is slightly different. On mirrorless X-T2 wheels are responsible for setting ISO, shutter speed and exposure compensation. Conveniently, the first two are doubled so that the bottom drive can control several functions: for ISO – forced mode, bracketing, video, panorama, fast series, multi-exposure, advanced filter; and the exposure metering mode for the corresponding exposure wheel.

Unlike the X-T2, the Fuji X-T20 can only adjust the shutter speed, exposure compensation and modes: forced, bracketing, video, panorama, fast series, multi-exposure, advanced filter using discs.

The younger camera is positioned as an amateur camera, so it is possible to switch the X-T20 to fully automatic shooting mode, and there is also a built-in flash.

The professional model has a slot for two SD cards, which supports the newest format of UHS-II, while in the X-T20 slot for one card and only for UHS-I.

3.2. Tilting display

The Fujifilm X-T20 has a tilting LCD screen that can deflect 90 degrees and rotate 45 degrees down. This is the second model in the Fujifilm X line, in which the touch screen (the first is Fujifilm X-A3), allowing you to release the shutter and select the focus point by touching. In the preview mode, you can scroll through the images or magnify them by sliding your finger across the glass.

Feature the Fujifilm X-T2 (and the medium format camera Fujifilm GFX 50S) – a Medium Format Mirrorless Camera display that can rotate in three axes: except for up and down, it reclines 45 degrees to the side, which is convenient when shooting in a vertical position of the case. Unlike the X-T20, the display in the pro model is not touch-sensitive.

28. Comparison of Fujifilm X-T2 and Fujifilm X-T20. [Comparison of Fujifilm X-T2 and Fujifilm X-T20. The picture is shot on a telephoto lens Fujinon XF 50-140mm f / 2.8. 1/60, 8.0, 400, 110.6

28. Comparison of Fujifilm X-T2 and Fujifilm X-T20. [Comparison of Fujifilm X-T2 and Fujifilm X-T20. The picture is shot on a telephoto lens Fujinon XF 50-140mm f / 2.8. 1/60, 8.0, 400, 110.6

Photo 29. In the article about why I need a telephoto lens, I wrote that one of the applications - isolating an object. The Fujifilm XF 50-140mm f/2.8. Settings: 1/750, +1.33, 2.8, 200, 140.

Photo 29. In the article about why I need a telephoto lens, I wrote that one of the applications – isolating an object. The Fujifilm XF 50-140mm f/2.8. Settings: 1/750, +1.33, 2.8, 200, 140.

30. Street photography using the Fujifilm X-T2 camera and the lens Fujifilm XF 50-140mm f/2.8. 1/600, -0.33, 2.8, 400, 140.

30. Street photography using the Fujifilm X-T2 camera and the lens Fujifilm XF 50-140mm f/2.8. 1/600, -0.33, 2.8, 400, 140.

3.3. Electronic viewfinder (EVF)

Both models have a built-in LCD viewfinder with a resolution of 2.36 megapixels, located in the center of the case. But in the professional Fujifilm X-T2 one is bigger (0.5 “vs 0.39”) and has the best increase (0.77x vs 0.62x).

In addition, in the forced mode (when connecting the battery pack), the frame rate in Fuji X-T2’s viewfinder can be increased from 60 to 100 fps. I did not find it exactly, but it seems like, at the X-T20 this parameter is limited to 60 fps, as there is no battery handle for this model.

3.4. Maximum speed of mechanical shutter

In both models there is a high-speed electronic shutter, which can be shot with a shutter speed of 1/32’000 seconds, and at the same time soundlessly. In the comments to the comparative survey of the amateur mirrorless Fujifilm X-M1 camera, I gave examples of cases where an electronic shutter can’t be used, instead of it, a mechanical one is included. So, if you compare the X-T2 and the X-T20, the difference is: 1/8000 vs 1/4000 seconds. In addition, the synchronization speed of the flash is also different: 1/250 versus 1/180 seconds.

3.5. Continuous shooting speed and buffer capacity

At first glance, there is no difference between the Fuji X-T2 and the Fuji X-T20 in the speed of continuous shooting: 14 fps in electronic shutter mode or 8 fps in mechanical mode. In LiveView mode there is the speed of 5 fps.

But the advantage of the X-T2 appears if you attach the battery grip (booster): in the mechanical shutter mode, the continuous shooting speed becomes 11 fps. As we recall, there is no possibility to attach the battery pack to the X-T20.

Another difference between these cameras is the different buffer capacity: 27 uncompressed RAWs versus 23, 33 compressed RAFs versus 25, and 83 frames in JPEG versus 62 frames.

3.6. Sixth Custom Autofocus Setting

The X-T20 has the same hybrid AF system as the X-T2, and you can set its settings. They include 5 algorithms for changing the sensitivity. Say the truth, the Fujifilm X-T2 has a 6th mode – a custom preset that does not exist in the X-T20.

3.7. Full sensor reading, gamma correction F-Log Gamma and limitations on video shooting

Both the X-T2 and the X-T20 cameras are currently the only ones in the Fujifilm X line that can write 4K video (UHD 3840 x 2160) at 24, 25 and 30 fps with a bit rate of 100 mbps. Also, both cameras allow you to output an 8-bit 4: 2: 2 4K picture over an HDMI cable.

You can apply the same filters to the video with the simulation of the film as in photography, but only in the X-T2 there is an F-Log gamma correction profile available via HDMI. When recording video, you can set ISO in the range 200-12800, manually adjust all exposure parameters.

When shooting 4K/30fps video, the limit is 10 minutes for both models, but if you put the battery pack on the Fuji X-T2, it will increase to 30 minutes. In the video mode Full HD and 60fps, two models write video for 15 minutes.

The Fujifilm X-T2 model cuts the video to the APS-C factor Kf = 1.17 when shooting at 4K, and X-T20 does not. Apparently, this means that X-T20 can’t perform a full pixel readout, which means that the clarity of the image is worse than that of the flagship.

3.8. Audio Ports

In the amateur model Fujifilm X-T20, the mic input is 2.5 mm, in professional mode – 3.5 mm. Both do not have a headphone jack, but in the battery grip for the X-T2 it is available – you can control the sound when recording video.

3.9. Optional Booster

Several times we noted that for the Fujifilm X-T2 there is offered the Fujifilm VPB-XT2 battery grip, indispensable for sports photography, wild life photography, weddings and 4K video. The booster not only extends the life of a single battery charge, but also significantly improves the convenience of shooting in a vertical position, thanks to additional control elements, and the inclusion of forced mode (extended video recording time, EVF performance, speed and focus accuracy).

For the Fuji X-T20 battery grip does not exist, so the owner can’t improve the parameters of his camera.

For a better perception of the difference in the parameters of the considered mirrorless cameras, it is suggested to look at the comparative table.

Parameter Fujifilm X-T2 Fujifilm X-T20
Sensor 24MP X-Trans III 24MP X-Trans III
Mechanical shutter 1/8000 1/4000
EVF, dots, fps x0.77, 2.36M, 100 fps x.062, 2.36M, 60 fps
Display 3″, 3:2, 1040K, 3-axes,  tilting 3″, 3:2, 1040K, 2-axes,  tilting
Touch Control No Yes
Setting AF 5x presets, 1x custom 5x presets
Continuous shooting speed, fps 8 fps, buffer for 83 frames JPEG 8 fps, buffer for 83 frames JPEG
Shooting in LiveView mode 5 fps, 130ms delay 3 fps, 280ms delay
Shooting video 4K 30p F-Log 4K 30p, 10 minutes limit, bitrate 100Mbps
Slots for memory cards Dual UHS II (two slots) Single UHS I (one slot)
Protection against dust and moisture Yes No
Battery grip VPB-XT2 No
Picture 31. Landscape shooting on the Fuji X-T2 and the Fujifilm XF lens 16-55mm f/2.8 R LM WR.

Picture 31. Landscape shooting on the Fuji X-T2 and the Fujifilm XF lens 16-55mm f/2.8 R LM WR.

32. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. pictures, taken by her. Fujifilm XF 16-55mm f/2.8 R LM WR lens. Minimalistic landscape. 1/320, +1.0, 8.0, 200, 20.

32. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. pictures, taken by her. Fujifilm XF 16-55mm f/2.8 R LM WR lens. Minimalistic landscape. 1/320, +1.0, 8.0, 200, 20.

4. Should you buy the Fujifilm X-T2 or the Fujifilm X-T20, or even take an DSLR?

On the blog there is an article about which camera best to buy a novice amateur photographer. In the comments to it – a questionnaire, which I ask to fill out, before asking which camera or lens is preferable to choose. Main questions:

1. How much money are you willing to spend?

2. How important are the weight and dimensions of the camera?

3. What subjects will you mainly shoot?

So, suppose that you plan to photograph sports or wild animals, or something else, where you want to use a telephoto lens. In the line of Fujifilm, to date, there is only one Fujinon XF100-400mm F4.5-5.6 R LM OIS WR, its price is 2’200 USD. Third-party manufacturers Tamron and Sigma lenses for Fuji do not produce. For the price of the Fuji X-T2, you will take a full-frame Nikon camera and choose a telephoto lens from several dozen models, both native and third-party manufacturers, with focal lengths of 400, 600 and 800 mm.

The second example: you seriously take a great interest in macro photography. For Fujifilm there are only Fujinon XF 60mm f/2.4 and Zeiss Touit 50mm f/2.8M Lens. It is clear that in macro photography, autofocus is not particularly needed, and through the adapter it is possible to attach others manufacturers macro lenses (for example, Samyang 100mm f/2.8 ED UMC Macro), but still… For Nikon without wild goose chase you use not only native Nikon 40, 55, 60, 85, 105 and 200 mm, but also Tamron 60, 90, 180 mm, Tokina Macro 100 F2.8 or Sigma 105, 150 mm macro lenses.

Unfortunately, DxOMark does not measure the parameters of the Fujifilm X cameras on the dynamic range, color depth and Low-Lite ISO – you can focus only on the personal perception of the picture. Let’s, for the sake of curiosity, compare the technical characteristics of the Fujifilm X-T2 and the top-end DSLRs of the competitors Canon EOS 7D Mark II and the Nikon D500.

Parameter Сanon EOS 7D M2 Nikon D500 Nikon D7200 Fuji X-T2
Price, RUR. 97’700 145’000 65’600 109’000
Tilting display Fixed Tilting Fuxed 2 axes
Sensitivity AF -3EV  -4EV  -3EV -3EV
Shooting speed 8 fps  10 fps 6 fps 8 fps (14 with EVF)
Buffer capacity 103 JPEG 26 RAW  200 JPEG 79 RAW  100 JPEG 18 RAW

83 JPEG

27 RAW

Minimum exposure time 1/8000  1/8000  1/8000 1/8000 1/32000 эл.затв.
Sync Speed 1/250 1/250 1/250 1/250
Number of card slots 2 2 2 2
Battery capacity 670 1240 1100 340

It’s hard for me to compare with the Canon EOS 7D Mark II, because it’s far beyond the parameters of the sensor (dynamic range, color depth and Low-Light ISO), than any APS-C  from Nikon, released in the last 5 years. I’m sure that by these parameters the Canon 7D Mark II is not a competitor and Fuji.

Still, we compare for the price of cameras are comparable, for the quality of lenses for APS-C, as described in the review above: Fuji does not make bad lenses. No special technological advantages the Canon EOS 7D Mark II, in my opinion, does not have (continuous shooting, speed and capacity of the buffer, etc.). Thus, I think that an advanced amateur photographer who owns an entry-level Canon EOS camera, dreaming of upgrading to an advanced APS-C, may well choose the professional model Fujifilm X-T2 as an alternative. If the photographer is engaged in special shooting (sports, concerts, wild life photography), you should carefully compare the lens set at your choice and price, test the AF speed on the mirrorless camera.

I forgot to say, when comparing Nikon, Canon and Fuji, to the price of the Fujifilm X-T2 immediately need to add 180 USD (the cost of 3 additional batteries, or 370 USD per battery grip).

It makes no sense to compare the Fuji X-T2 with the professional Nikon D500, since I do not know who is buying D500 – see the comparison with the full frame of the Nikon D610.

Well, if you look at the differences between the Fujifilm X-T2 and the Nikon D7200, which is clearly inferior to the ISO and the weight of the system, taking into account the choice of quality lenses for APS-C , then there is much to think about. Finally, the main puzzle – what to choose: low ISO and the price of the Nikon D7200 or high ISO and the cost of the X-T2?

But I do not see the problem of choosing the Fujifilm X-T2 vs the Fujifilm X-T20. Just open your albums with pictures and count: how much of them are taken in the rain, how often do you “bang away” in series of 50 frames and are you going to buy a battery grip for 370 USD. I am sure that 95% of those photographers who hesitate between the X-T2 and the X-T20 will choose the amateur model.

Picture 33. Is the FujiFilm X-T2 suitable for shooting concerts? In this genre, the fast lens Fujifilm XF 50-140mm f/2.8 is very helpful. Shooting settings: 1/500, 2.8, 2500, 134.4

Picture 33. Is the FujiFilm X-T2 suitable for shooting concerts? In this genre, the fast lens Fujifilm XF 50-140mm f/2.8 is very helpful. Shooting settings: 1/500, 2.8, 2500, 134.4

Picture 34. Shooting concerts on the Fujifilm X-T2 and the telephoto Fuji 50-140 f/2,8. Reviews of owners. 1/500, 2.8, 2000, 102.2

Picture 34. Shooting concerts on the Fujifilm X-T2 and the telephoto Fuji 50-140 f/2,8. Reviews of owners. 1/500, 2.8, 2000, 102.2

Picture 35. An example of shooting on the Fujifilm X-T2 during the concert. The Fujifilm 50-140mm f/2.8 zoom lens helps to catch interesting moments and keep the ISO within reasonable limits. 1/500, 2.8, 2000, 124.3

Picture 35. An example of shooting on the Fujifilm X-T2 during the concert. The Fujifilm 50-140mm f/2.8 zoom lens helps to catch interesting moments and keep the ISO within reasonable limits. 1/500, 2.8, 2000, 124.3

To make pictures interested spectators, you need a visual series to form a picture story. How to make an interesting picture report that keeps attention.

Most often we view our pictures on a computer, but they look much more effective when they are decorated in a photobook. Tips on how to compile it in the best way.

In today’s review, we talked little about how to learn to take pictures on Fujifilm X-T2. In the article with examples of pictures on the Sony A6000 we discuss how to focus when shooting a portrait and a landscape.

After the impressive examples of X-T2 images, I wanted to test an earlier X-T10 model. Not impressed, because I encountered significant drawbacks when taking and processing pictures.

5. Conclusion to the review of the mirrorless camera Fujifilm X-T2

I did not have the task to agitate for buying the X-T2 or, on the contrary, to dissuade. A careful comparative analysis and examples of photographs presented by Pavel and other owners of these mirrorless ones showed that the camera has, in fact, a lot of positive sides, and there are not many negative points if it is equal to the average photographer. However, if you compare the cost of ownership (body, lens, flash, other accessories) and the breadth of choice, then there are many reasons to focus your attention on other brands. In any case, it’s great that such cameras are on the market: competition grows, which forces manufacturers to think about improving the product and about reducing the price, from which we all win. In addition, special thanks to Pavel Chertalev for the presented interesting pictures with his remarkable Fujifilm X-T2. I wish him only a wonderful images!

Picture 36. The X-T2 camera test on the shooting of the concert with the telephoto lens Fujinon XF 50-140mm f/2.8. Settings: 1/500, 2.8, 4000, 80.4

Picture 36. The X-T2 camera test on the shooting of the concert with the telephoto lens Fujinon XF 50-140mm f/2.8. Settings: 1/500, 2.8, 4000, 80.4

Picture 37. Example of portrait shooting on the Fuji X-E2 and the Fujinon XF 16-55mm f/2.8. 1/60, 2.8, 1600, 50.

Picture 37. Example of portrait shooting on the Fuji X-E2 and the Fujinon XF 16-55mm f/2.8. 1/60, 2.8, 1600, 50.

38. Camera Fujifilm X-T2 at the concert. Examples of pictures taken with the Fujifilm XF 50-140mm f/2.8 R LM OIS WR telephoto lens. Parameters: 1/500, 2.8, 2500, 80.4

38. Camera Fujifilm X-T2 at the concert. Examples of pictures taken with the Fujifilm XF 50-140mm f/2.8 R LM OIS WR telephoto lens. Parameters: 1/500, 2.8, 2500, 80.4

39. Can the Fujifilm X-T2 take interesting pictures? No, only a photographer who looks at the viewfinder of this camera is capable of this. 1/500, 2.8, 5000, 50.

39. Can the Fujifilm X-T2 take interesting pictures? No, only a photographer who looks at the viewfinder of this camera is capable of this. 1/500, 2.8, 5000, 50.

Note: all the pictures in this comparative review are taken in RAF format and processed in the native editor Silkypix Developer Studio Pro 8.0 using different color profiles + finishing in Photoshop.

Examples of shooting at a Nikon D5100 APS-C camera and the Nikon 17-55mm f / 2.8G high-speed reportage zoom can be seen in a separate picture lesson.

*     *      *

Instead of an afterword. While this review was being prepared, photographer Dmitry Kochergin laid out on Youtube a comparative analysis of the images taken on Fuji X-T20 and X-T10, where he compares images to high ISO. The general conclusion, on the parameters of the matrix of the model from each other, practically do not differ, and in its opinion, there can be only two reasons for the novelty’s preference: 1) the speed of the autofocus X-T10 does not satisfy you; 2) you do not like that in the sensor of the previous model only 16 megapixels.

Under the link you can download samples of pictures in RAW format, taken by Dmitry on Fujifilm X-T20 and X-T10. Based on the comparison table X-T2 and X-T1, I conclude that the novelty can be preferred by those photographers who need a faster and more accurate AF, and who do not necessarily need 2 memory card slots.

By the way, a couple of words about D. Kochergin, whose blog I’ve been reading for several years. Wonderful photographer from the South Urals. Look at his work in Contact (account: norcoman74 in LJ) – perhaps you want to go with him to the picture tour. Dmitry organizes picture trips around our regions – come back with cool staff and excellent mood.

205 Responses

  1. Valentine says:

    I liked the photo taken in the room: clear, bright, especially from a children’s holiday. The photo on the street, probably because of the fog, is not bright. And the tree was impressed.

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    • Sergey PAT says:

      Valentina, for shooting in the open air the weather was not the easiest. In the conditions of fog, the main task is to find a bright object that will attract attention. Picture 25 – a vivid example: the red ship real plays in the frame!

      In addition, I really liked the pictures #20, 21, 22, 31 and 32 – probably some kind of their conceptuality. Fog adds mysticism, or graphics. I would like it to be even more.

      Who wants to see pictures taken on the cropped Nikon D5200 with the Nikon 17-55mm f/2.8 fast lens, you can see an overview of this set shot in about the same unfavorable lighting conditions. Also, there you want a beautiful regime light.

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  2. Igor says:

    Sergey, good afternoon. Very interesting article with a review of the Fujifilm X-T2. I love this topic. You would work in the advertising business. Read the advantages of mirrorless – and though now run buy!

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    • Sergey PAT says:

      Thanks Igor! Probably, when I analyzed the pros and cons of DSLR cameras and mirrorless ones, I inflamed and at that moment was ready to run to the store. Here in the review it is felt. 🙂

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  3. Eugene Cr says:

    As usual, the comments are no less interesting to read than the review, especially in the “Photography” categorie. No offense to the author will be said, but I was even more interested in learning the conclusions of Paul Chertalev about the transition from the Nikon D800 to the Fujifilm X-T2, which he voiced in the discussion, rather than reading the article itself (the review is excellent, but, in my opinion, it hurt too much technical).

    Actually, Paul’s conclusions coincide with those I heard from Liseikina, Martynov and others who switched to the Fuji X system: none of them regretted changing the system and going back to DSLR is not going to.

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    • Oleg says:

      Well, here in the blog some time ago the “real Soviet engineer” ™ 🙂 Vladimir wrote with his concept that all of us, owners of mirrorless ones, are ordinary victims of marketing. And, that in fact there are no advantages to switching to mirrorless. I’m not going to dig up his arguments on the blog, but in fact – if there is such an event-argument in everyday practice, after which a person goes and buys a mirrorless camera, whatever arguments his opponents have, these arguments will not be significant for neophyte. 🙂 And vice versa, which is also not surprising … 🙂

      Each of us has different arguments which do not coincide with each other. But, I repeat, there is a watershed – a “starting argument”, when you realize: here it is, and you go to buy a mirrorless, suffered in the head of the firm. 🙂

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      • Sergey PAT says:

        Oleg, this debate about the shortcomings of mirrorless Vladimir led in the comments to the second part of the comparative review of the Fujifilm X-M1 and the Nikon D5100. The main arguments: it is unpleasant to look at the EVF and slow focus. But those conversations took place in the summer of 2015. Nowadays, 2 years for electronics is infinity.

        Fuji did not stand still. The work of EVF was improved, the focus – according to Paul (I believe him) works better than on the D800. Low-Light ISO, as seen from the examples in the review – at a very decent level. Well, plus the other arguments that were personally in Paul. The result is a new camera.

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    • Sergey PAT says:

      Eugene, the fact that you did not like the actual review, I associate with the fact that you published almost the same month in your own web-site (for other readers, the blog “Stories of our travels: the agony of choice: a DSLR or a mirrorless one – Nikon vs. FujiFilm”…) 🙂 For you a new information was therefore not found.

      After the amateur photographer answered honestly on all the questions of camera selection, why should he go back from Fujifilm X-T2? The camera satisfies all the needs that he had.

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      • Eugene Cr says:

        No, I liked the review, I like to read technical articles of this kind. It just seemed that the one who is determined with the transition to Fuji system in addition to technical details, it would be interesting to know the opinion of the real user, in this case, Paul. And this information is in the comments to the article.

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  4. Sergey PAT says:

    I would like to say again many thanks to Paul: at my request I sent photos of the Fujifilm X-T2 body with the Nissin i40 flash attached to it, the prime lens Fuji 35mm f/1.4, the zoom Fujifilm 16-55mm f/2.8 and the Fujifilm 50-140mm f/2.8.

    From these pictures I created a collage and placed it in the review under the number 15-0. Also, there is a carbonic tripod Sirui T-025X with the head C10X – an analog of my Sirui T-2204X, but more light:

    Sirui T-025X + C10X
    the maximum height of 130.5 cm
    load up to 6 kg
    weight: 0.6 kg

    Sirui T-2204X
    the maximum height of 148 cm
    load up to 15 kg
    weight: 1.1 kg

    As you can see, this tripod is quite suitable for holding a lighter camera Fujifilm X-T2, although the owner claims that he successfully used this tripod and for shooting with a full frame Nikon D800.

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    • Igor says:

      Sergey, good afternoon. The error in the description of the picture number 15-0: “right above – with a telephoto lens Fujinon XF 16-55mm F2.8”. It is necessary to sign: Fuji 50-140mm f/2.8.

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    • Igor says:

      Yeah. Fuji’s X-T2 size is not the same as the full frame DSLR Nikon D800, and even with the flash. Yesterday Toptygin posted a video review of the model Fujifilm X-T20, and there compares it with the Fuji X-T2.

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    • Paul Chertalev says:

      Cool collage turned out. I shot Nikon D40 KIT 18-55 – it seems that even with such a cheap device it’s possible to shoot a piece well. 🙂

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      • Sergey PAT says:

        Paul, to these remarks you need to add the phrase “under certain conditions.” If there is a tripod, reflector or stand for product photography, such images can be shot and on a point-and-shoot camera for 5000 rubles. At least on the compact Fujifilm X30.

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  5. Alex says:

    Just now I looked at the comments about the flaws of the Fujifilm X-T2.

    “The survivability of the shutter button (2’000 frames – already sticks), focusing with the debugging, the survivability of batteries in the cold (up to -10 Celsius degrees), even with a battery grip – 1-1.5 hours. If it were not for the failures listed above, then it’s quite a working camera. ”

    “It is convenient to shoot at night from the monitor, pleasant noise in dark places (does not strain).”

    Plus, he also found: “An inconvenient grip for a man’s hand.” “There is no stabilization system, which for such money is provided by all other competitors.”

    “Confusion in the submenu”.

    “The average price tag for Fuji’s lenses is one of the highest on the market, it’s quick enough to run through the Market to understand this” (here confirm: the price starts from 22 thousand). If we compare it with new lenses from any of the competitors of Canon or Nikkor, the lenses from Fujifilm, even without a VR will be priced only on the third page).”

    Rich Chinese (and only go to Baikal this winter and go) that year were shooted only on DSLRs, mainly on Sony, sometimes on Nikon, a couple of times saw Canon.

    Are there any similar drawbacks in the mechanical part? Again, in the hike in Lake Baikal, if it is weak to frost, you can’t take it anymore: there is usually 2-3 hours to go from the car, from the train – all day long, it is impossible to pull out the battery constantly when shooting from a tripod.

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    • Sergey PAT says:

      In general, there is no universal camera. If the photographer shoots, mainly in the cold, let him buy DSLR. By the way, in winter I always take out the battery and hide it in my inner pocket.

      About mechanical deficiencies – you need more statistics: it is not known how it was exploited by this photographer. For example, Dmitry Kochergin, whose video with a comparison of the Fuji X-T10 and the X-T20 is located at the end of the review, has been climbing mountains for a year, including frost… And nothing: the camera is alive.

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    • Sergey PAT says:

      Concerning the cost of lenses, there are also two sides of the coin. Read reviews about cheap Tamron and Sigma, and about expensive Fuji… The quality of Fujifilm glasses is higher than competitors.

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      • Alex says:

        Here, as General Eremenko said: “More precisely, than Comrade Stalin, you will not tell.” But, regarding the quality of branded glasses from Nikon and Canon, they are not much inferior to the quality of Fujifilm. Since I have Nikon, the comparison will be biased.

        Take, let’s say, Canon and on the Yandex-Market compare this with the similar. Fuji has a “pancake” Fujifilm XF 27mm f/2.8 for 28’000 rubles. Ahead of it for the price (new) pancakes Canon EF-M 22mm f/2 STM (twice cheaper), Canon EF-S 24mm f/2.8 STM, Canon EF 40mm f/2.8 STM. (both three times cheaper). There is also Fujifilm XF 18mm f/2 R X-Mount, but it costs 39’000 rubles.

        Here you can see three times the greater variety: 3 new Canon lenses at the price of one from Fuji, while one of the lenses is optically better (large aperture ratio). On other similar lenses, simply beating babies with more fast and cheap lenses from Canon begins: only the fast “100” – 3 pieces, for Fujifilm – not one.

        If you compare this with a similar one: say, Sony E and X-mount bayonets. All lenses from Sony are cheaper approximately 2 times with optically equal characteristics. In addition, some of the lenses are labeled “Sony Carl Zeiss” with the best optical characteristics. In this case, the stabilizer of the image of the lens is supplemented by the stabilizer of Sony cameras themselves.

        As for the cameras: you can take a full-frame Sony A7, and buy it for the reportage of the Sony A6300 for the price of one Fuji X-T2. In this case, the Sony A6300 is approximately equal to the Fujifilm X-T2 in terms of performance, having a 2 times lower price.

        Therefore, the Fujifilm X-T2 is an excellent camera with excellent optics. And for the brand you have to overpay, about as Apple compared to Windows or Android, i.e. several times.

        It is clear that Stanislav Vasiliev, who does not peck at his money, can wear the Fujifilm X-T2 and 2 lenses to him in his jacket pocket. But ordinary mortals – as if, expensive.

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        • Sergey PAT says:

          Alexey, last year an acquaintance wealthy man asked me to choose a camera for traveling to Kamchatka. I looked at 2 systems: Fujifilm and Sony. And Sony disappeared due to the fact that there are a lot of complaints about the quality of the lenses, even very expensive ones: there is not enough clarity, the corner is not sharp. Fujinon lenses I have not seen such problems.

          I do not care that any Tamron or Canon costs twice as cheaply – it is not needed for free if the corner is not sharp… So I will say it again: a lot of factors influence the choice of camera and lens, and it’s not at all a fact that Fujifilm is suitable for everyone. And in many cases that you have described, indeed, the DSLR will be the best choice.

          But I would not dig Fuji X into the ground either because they might be more expensive to use, or because they are more difficult to find cheap optics. On my site, those who actively take a great interest in photography gathered, buy new lenses for their tasks. But we, such enthusiastic photographers, do not exceed 5%. The rest of the mass of photographers buys a camera with KIT optics and only shoot on it. And that whoever spoke, the Fujinon XF 18-55mm F2.8-4 R LM OIS or Fujinon XC 16-50mm f/3.5-5.6 OIS are the best in its class. No Canon EF-S 18-55mm f/3.5-5.6 IS STM, Sony 16-50mm f/3.5-5.6 or Nikon 18-55 mm f3.5-5.6G AF-S VR DX does not suit them as much as cheap whether they were.

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        • Paul Chertalev says:

          About the price of lenses – let’s compare (only we will compare the lenses from one category):

          Fujifilm 56mm 1.2 (405g) = 66’000 Canon 50mm 1.2G (545g) = 97’000. Nikon does not, but I must say that Canon and Nikon have a decent 50mm f1.4G for about 30’000, and Fuji does not.

          Fujinon 35mm 1.4 (187g) = 40’000. Nikon 35mm f/1.4G (600g) = 118’000. Canon 35mm 1.4 (580g) = 81’000. Sony 35mm f/1.4 (630g) – 139’000.

          Fujifilm 23mm 1.4 (300g) = 60’000. Nikon 24mm f/1.4G (620g) = 132’000. Canon 24mm 1.4 (650g) = 103’000. Sony – did not find.

          Fujifilm 16mm 1.4 (375g) = 66’000. Nikon and Canon do not have such fixes.

          Fujifilm 14mm 2.8 (235g) = 60’000. Nikon 14-24mm f2.8 (1000g) = 129’990. Canon 14mm 2.8 (645g) = 138’000. Sony – did not find.

          Fujifilm 10-24mm f4 – there are no analogues in Nikon, and Canon EF 11-24mm f/4L USM (1180g) = 166’000.

          Fujifilm 50-140mm f2.8 = 98’000. There are no analogues between Nikon and Canon, but if you compare it with FF counterparts Nikon 70-200mm f/2.8G EDVR II (1540g) = 150’000, Canon EF 70-200mm f / 2.8L IS II (1490) = 143’000.

          Fujifilm 16-55mm f2.8mm (655g) = 73’000, Nikon 17-55mm (755g) = 87’000-125’000 (prices vary). CANON EF-S 17-55mm f/2.8 (645g) = 55’000.

          As we see, with the exception of the 50 mm, Fuji, with his price beats the giants Canon and Nikon.

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          • Alex says:

            Paul, it’s pointless to compare: Canon EF-M 22mm f/2 STM (weight: 105 g.), Fuji has no analogues. Neither aperture, nor weight. The lenses from Canon are large and heavy (2.5-3 times), at a price cheaper than 2 times than the Fujifilm XF 27mm f/2.8. Well, optically, of course, better.

            Fujifilm XF 10-24mm f/4 R OIS (66’000) and Nikon 10-24mm f/3.5-4.5G ED AF-S DX Nikkor (70’000) or Tamron (here 4 times cheaper). Stars, according to the “rule 600”, on Tamron and Nikon will be better, because on 10 mm we have f3.5, not f/4. And ISO does not need to increase.

            All lenses have to be ordered from Moscow. The army generally prefers to put on Olympus drones… This was all for the sake of the joke.

            But seriously, when I want to buy a Nikon 70-200mm f/2.8G ED VR, I’m not going to «Cvyaznoy» store, but to Avito (second hand market), and I’m buying for 25-30 thousand. The prices that you give are normal for Moscow and Petersburg, and me, the provincial photographer, for such money, you can buy a second-hand Japanese small car in Vladivostok or in Thailand with the whole family to fly.

            Optically new lenses, of course, are good, for a short rear, part with VR. But, if there were money, like my comrades who are engaged in photography, I would buy a full-frame mirrorless Sony on second hand market. Plus, put on it a used lens with a stabilizer from Nikon or Canon via the adapter, and shoot the video. Here price is a decisive factor. Especially since 90% of the shots, judging from Fuji’s own shots, can’t be distinguished from APS-C equipped with a Toshiba or Sony sensor, and even more after processing.

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          • Paul Chertalev says:

            Thank you for mentioning the Nikon 10-24mm – I did not know. I did not appreciate your humor about heavy lenses from Fuji. About Canon EF-M 22mm f/2 STM quote: “EF-M has a different EF mount, and is not compatible with EF and EF-S series lenses.” Therefore, the users of APS-C Canon’s DSLRs are out. You can’t give an example, can you?

            I gave the prices of new lenses, but used Fuji did not cancel. I, for example, have already agreed with a man to take a pancake Fujifilm 27mm f2.8 for 13 thousand. And my Fujinon 35mm f/1.4 bought used for 24 thousand.

            Now show me another system in which I would be able to buy the coolest 35mm fix with an aperture f/1.4 for such money. And now think about the fact that you, who live out of the Moscow Ring Road, will someday want to have such a fix and, being on the Nikon system, you will have to save 3 times longer on it. And also show me on the Avito used telephoto lens Nikon 70-200mm f/2.8G ED VR for 25-30 thousand – I really want to see. But in Fuji 50-140mm f/2.8 is already on Avito for 70 TR, and it is a complete analog of Nikon’s second version.

            I agree that Fujifilm does have a problem with the availability of cheap optics. A new KIT lens from Nikon or Canon stands around 8-9 thousand, Fuji – around 20. And the only model Fujifilm with a standard zoom lens in the KIT, which at a price would be equal to the Nikon D5200 Kit is the Fujifilm X-A2. And it will clearly lose in speed and accuracy of focusing. But, as for professional optics, it is much cheaper and, what is most important for me, it is much easier.

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          • Alex says:

            I agree with you, since you are engaged in these lenses, you watch, etc. I also watch, and I see that all the lenses for Fujifilm (and there are not many of them) are sold in Moscow and St. Petersburg, some in Chelyabinsk. I see on page 1 the price of 10’000 rubles: “Fujinon 16-50mm f/3.5-5.6 new.” All the rest – far more than for 20’000 rubles. Why do I need such a focal lenght with such a dark hole?

            Or the used Fujifilm XF 10-24 mm F4 R OIS X Mount for 49’000 rubles. My Tamron 10-24mm in Khabarovsk bought for 8’000 rubles (about 6 times cheaper). Transfer from Moscow, I understand, when for 7-10 thousand I order the old iron Tamron from Komsomolsk-on-Amur, remembering about the adjustment of the front and back focus in my body. But paying for a cat in a bag with a transfer from Moscow, even for 25’000 rubles, is scary. My prime lens Nikon 35mm f1.8 I bought for 5’000 rubles. Buying fix Nikon 50mm 1.4 can be somewhere for 12’000 rubles, and Nikon 85 mm 1.8 – for 15000 rubles.

            The Nikon 35mm f/1.8 I do not use practically: I shoot the shoulder portrait from f/1.8 – the risk that my clothes will not be sharp anymore. If I really want, I take 90 mm or 75 mm for 2.8, because the laws of optics allow blurring several times stronger than 35 with f1,2, since DOF is extremely small.

            An external flash YongNuo Speedlite YN565EX will save a flat picture (for 4’000 rubles only), installed on a tripod and ignited with a camera flash. And indeed, all my 5 lenses together cost 27’000 rubles for 2 years. So, stories about 70’000 rubles shock me and awe: for this money, I better fully equip the car with a power kit, winches, Hi-Jacks, mud tyres, etc. Or I’ll buy a lot.
            I have a fleet of optics covering the focal length from 10 to 300 mm + a standard fast prime lens 35 mm and a portrait-macro Tamron 90 mm. Yes, there is no stabilizer, but there are 2 tripods and 2 flashes, a lot of cheap Soviet equipment – lamps, tripods for shooting panoramas and video, video light, a cell phone save sign perfectly. Years on 5 will suffice.

            The fact that you are fond of new photographic equipment, choose it, you have enough money to buy – just wonderful. God grant, each person would have such a hobby or work so as not to spend money on booze and grass. I just feel sorry for that kind of money, especially since the “masterpiece” button does not appear.

            I’m going to put a better 100 rubles on Webmoney and download a new course Zamorin on a folder. His colleague, Sofia, perfectly conducts lessons on photo processing in Photoshop and Lightroom, proving that the technical parameters of the camera are not too important.

            Peace to you, I apologize if you are offended or offended somewhere!

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          • Paul Chertalev says:

            As for “90% of the shots, judging from the shots of Fuji, you can’t differentiate Toshiba from Sony- APS-C bodies”. I’ll tell you more: I could not distinguish Nikon D800 from Fujifilm X-T2.

            And I also posted the link: https://fotki.yandex.ru/users/pchertalev/album/1462401/

            I offered to guess from the pair pictures that was shot on the Nikon D800 + Nikon 35mm 1.4G (the price of the used set is about 140 000), and what was shot on the Nikon D40 + Nikon 18-55mm kit (set price is 5’500) . Nobody could guess.

            So, comparing modern cameras, we are only discussing the characteristics that will help us easier to shoot. Such as, for example, speed and accuracy of autofocus, the amount of noise… etc. And, for now, in my opinion, the Fujifilm X-T2 is the only mirrorless camera that will allow me to shoot a commercial wedding or motor racing competition. Sony cameras are also great, but they, unfortunately, do not have the necessary APS-C optic for me.

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          • Alex says:

            Concerning the photos – if you did not do the processing, except for compressing to 500 KB, then, most likely, the photo in cool colors is made on the Nikon D800 with native sensor. In warm colors, based on the features of the sensors from Sony and Toshiba – on the Nikon D40.

            Lenses without a 10-x zoom in Raw can not be distinguished. Based on the DOF, the photo with the largest blurring of the background could be made at 55 mm. But this is more a guessing game. APS-C zooms in closer and enlarges the background, but here you can’t guess, although photo 3 is very similar to what was shot by APS-C camera.

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          • Paul Chertalev says:

            Alex, the photo was just compressed. In cold colors – this is just the old Nikon D40. Picture number 3 – this is really APS-C Nikon D40 + Nikon 35mm f/1.4.

            I mean that the shots on APS-C ancient Nikon D40 with the KIT lens are also good, as the Nikon D800 with the top fast prime lens. So, the debate about which camera best shoots, in modern realities is meaningless.

            Well, for my purposes, the Fujifilm X-T2, it seems to me, is best suited. And the money was, since I sold all the top-end devices from Nikon, accumulated for 4 years. I sold it, because the “masterpiece button” did not appear.

            There was only a pain in the back and shoulders from dragging a camera bag. And the understanding has come that, once the problem of the masterpiece is not solved, it is necessary at least to save the back!

            No offense. I used to buy the Nikon 50mm 1.8D myself – because there was no money for the Nikon 50mm 1.8G. And I understand your arguments well, and in those days I would never have believed that I would own such photographic equipment.

            If I was asked what kind of photo KIT I would recommend to a beginner, I think I would hesitate to answer that the best is cheapest DSLR with a KIT lens, for example: the Nikon D40 Kit (cost 4’000-5’000), plus search afterwards used flash Nikon SB-300 or Nikon SB-600 for shooting at home (price 4’000-5’000). And I, of course, would not advise a mirrorless camera by Fuji.

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  6. Sergey PAT says:

    I re-read the dispute between Alexey and Pavel – on decent resources this is called a flood: apparently adult people, but they do not want to listen to each other. One person likes to dig in the beds, the other – to dance in discos. The first one tries to convince the second that it is better to live at the dacha than in the center of the megalopolis. Wrong statement. The right answer: the first – in the village, the second – in the city. Because the value of the factors in the disputants is different.

    So, with the mirrorless cameras and DSLR – I say again: look at the questionnaire and evaluate the answers on a 100-point system. Paul put 100 points in weight and compactness, Alexey – the price and availability in his region. Which of them is right? Both! Based on personal preferences.

    Anyway. I would like to note that Paul writes not only for the first time that Fujifilm XF 50-140 f/2.8 R LM OIS WR is a complete analog of the Nikon 70-200mm f/2.8G ED AF-S VR II Zoom-Nikkor. In order not to mislead less experienced amateur photographers reading this review, I will say that the field of view is similar and provided that we compare the kit: APS-C Fuji X-T2 + Fujinon 50-140 and the full frame Nikon D800 + Nikon 70-200.

    If you compare lenses on APS-C bodies (for example, the telephoto 70-200 on the Nikon D7200), then Fujinon 50-140mm, first, is more wide-angle, which, perhaps, is not so important if you photograph portraits. Secondly, it approximates 42% less than the Nikon 70-200mm, which is very important for shooting wild animals, sports and landscapes. And so it is incorrect to say that both zooms are similar lenses.

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  7. Misha says:

    A good review of the mirrorless: everything is very detailed, and the pictures are liked. Maybe the time will come and it will be possible for me to shoot with an camera of this class.

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    • Sergey PAT says:

      Misha, thank you and from me for compliments to the review, and from Paul. No matter how we relate to such novelties as the mirrorless Fujifilm X-T2, it’s good that there are real owners who can express their opinion based on the experience of real operation. Otherwise, it would only be necessary to read the paid tests in the magazines.

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  8. Oleg says:

    A small remark about Picture Sample 3 and 6 in this review, and the question to Paul. But first – the prehistory.

    I really like the modes of operation of the automation that Nikon offers to its users: in particular, the option in the aperture priority mode “A” to set the camera to the exact threshold of SHUTTER SPEED, the longer of which will not be set until the upper ISO limits are reached.

    In practice, this works well when you need to shoot a dynamic plot: for example, not very briskly moving children, but you want to be able to change quickly the values of the aperture. Thus, I set the value of Shutter speed = 1/160-200-250-500 in the Nikon D5100 menu, depending on the activity of the movements, and the automation already selects the correct exposure for the given aperture with ISO parameters. All this happens very quickly.

    In Nikon cameras, the class is higher than my D5100, it is possible to tune the shutter speed in this mode to the focal length: in order to avoid blur, a coefficient in the formula (Shutter speed = 1 / Focal length; or Shutter speed = 1/2 Focal Lenght, etc.) and then the diaphragm values change depending on the picture you want to get (more pronounced bokeh or less pronounced). This setting can be done in the camera of Sergey’s Nikon D610 and in the Nikon D800.

    So, Sergey knows that recently I had a second camera in the family – it’s Sony A6000. And when I traveled through the menu of its settings, I was beaten by a cold sweat: it does not have such a menu in mode “A”. That is, if the camera when shooting with long-focus lenses with a focal length of 200 mm, for example, will set the shutter speed to 1/60, you can forget about clear pictures, no matter what the stabilizer of the body.

    Urgently phoned with the owner of Sony 18-200, and we met, in the field. Caught up! In the automation of Sony cameras, it was initially programmed for long focal formulas Shutter speed = 1 / (1.5 Focal length), that is, for a given aperture, until the upper ISO threshold was reached, at the focal length 200mm the camera AUTOMATICALLY set the value 1/320, that is, the blurring due to camera shake was eliminated.

    But on the short focal lengths something happened that made it cool to think about Nikon developers and mentally send the rays of contempt to Sony engineers, and it looks like Fuji: on a focal length of 35 mm the camera reached the lower threshold of 1/60 shutter speeds, and any active movement in the frame was blurred.

    And I still understand such a blunder in my Sony A6000 for $ 600, but when it works like automatic in the camera, like Paul, which we can buy for $ 1760, then I start to think. Although, I assume that during the development phase of the Fujifilm X-T2, Paul did not find a setting that in the “A” mode causes the shutter speed to be set, so in the Picture 3 the waving hand of Paul’s older girl, like the 6th picture, looks like blurred.

    I would like Paul to clarify why, with a clearly non-threshold value of ISO 4000, the Fuji X-T2 camera automation set the shutter speed to 1/80 and there was a blur.

    So far, I have no idea how to deal with this in Sony A6000 camera, except by going to manual mode. What are Paul’s ideas?

    View Comment
    • Sergey PAT says:

      I’m sorry, Oleg! When I described how in the store I compared the Sony A6000 and the Fujifilm X-E2, in the first paragraphs of the review said that, even the seller could not activate “Auto ISO” in A6000 so that it depended on the minimum shutter speed. Then I read the operational manuals in detail – there is no such mode in the mirrorless Sony A6000.

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      • Oleg says:

        It turns out – this is a bonus from Nikon, as none of the Canon owners familiar to me could explain to me in any possible way whether it is possible to set the threshold for the shutter speed in “A” mode in their devices.

        It seems that there is no such configuration in Fuji X, otherwise I can‘t explain the parameters of picture #3 in this review…

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        • Sergey PAT says:

          Oleg, the setting function “Auto ISO” is even at the point-and-shoot Fujifilm X30: it works by the principle, like Nikon D5100 DSLRs – you set the minimum and maximum ISO, the minimum shutter speed. The advantage of the Fuji X30 in front of the Nikon D5100 – you can set three presets for “Auto ISO” with three sets of parameters, which I have listed. That is one preset – with a maximum ISO 800, the second – ISO 1600, the third – ISO 3200, and in the quick menu “Q” choose the desired value.

          Read now the owner’s manual of the Fujifilm X-T2 – the same principle of operation as for the Fujifilm X30 (I also saw it with my own eyes in the Fujifilm X-E2, the Fujifilm X-T10). The ability to choose automatically ISO depending on the focal length of the lens, as implemented in the Nikon D610 and the Nikon D800, is not provided in this camera.

          Hence the conclusion: Paul in the Fuji X-T2, most likely, stood in the “Auto ISO”, shutter speed of 1/80 second (when he shot another story), and then he forgot to reconfigure the Photo 3 and Photo 6 when shooting. I’ve often had this until I discovered that you can set the shutter speed in proportion to the focal length.

          Also, I read the owner’s manual for Canon EOS 5D Mark III. Setting the automatic ISO by the principle, like Nikon D610 is provided accurately. Moreover, in the section “Minimum shutter speed at Auto ISO” there is an option to set a specific value or select “Auto”. Only, as it seemed to me, the “Auto” exposure mode on the Canon 5D Mark 3 has only one setting: Shutter speed = 1/Focal Length. At the same time, in the Nikon, D610 can be chosen from Shutter speed = 1 / Focal Length, and Shutter speed = 1 / (2 * Focal Length).

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          • Oleg says:

            In the Image 3, where the blur is clearly visible, the shutter speed is 1/80, and on the Image 6 is 1/100. I do not think that Paul for some reason specifically set these values, since clear blur goes to Pictures 14 and 16, where the shutter speed is 1/60. Although, there used to be a series of photos with a fixed shutter speed of 1/125.

            In any case, it does not seem that the function of compulsory setting of the shutter speed threshold is involved. I’m too lazy to download the manuals from different Canon models, but the owners of APS-C Canon can’t tell me anything about the threshold function, comparable to the Nikon D5100, the Nikon D5200 and the Nikon D5300, in which this function is available.

            On Sony, I thought of a way out, albeit not easy: move the camera to the “M” mode, and leave the ISO in AUTO mode. Here it will already be shot, when, based on my shutter speed/aperture preference, the automatics will brighten the ISO to 100 in bright light conditions. Nikon will automatically shorten the shutter speed from the threshold value, and here I do not even understand where to look before shooting, that the picture can be overexposed, and you already have to turn the shutter speed wheel.

            I will study this out.

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          • Igor says:

            Oleg, Canon 700D / Rebel T5i has an automatic ISO only. I did not see any settings for the shutter speed range in the menu.

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          • Sergey PAT says:

            I’m reviewing the photos, and I want to note that in the Picture 3 a blurred hand – just in the subject: it gives dynamics, liveliness to the image. If the exposure time were longer, the image would not have turned out so expressive. So, perhaps, Paul specifically made this setting for this story.

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    • Paul Chertalev says:

      To be honest, I did not quite understand the question? Automatic ISO taking into account the focal length is really missing – I knew this when I was buying the camera. This is a very convenient feature, but it can’t always be used. I have the Fuji 16-55mm lens – that means, with the formula 1/2 * Focal Length, I get only 1/32 seconds of shutter speed. Too long!

      I shoot a family or children. How much do you need? It is necessary, at least, about 1/60-1/80 seconds. But this is Shutter speed = 1/5 * Focal Length! But when shooting on the Focal Lenght = 55 mm, the shutter speed will be 1/275 seconds! A lot for such bad lighting – ISO 6400 is not enough anymore.

      So, in those conditions that I shot, the algorithm for automatically determining the shutter speed to focal length does not suit me. If Fujinon 35mm f/1.4 were with you, maybe it would be useful. And the habit of exhibiting and controlling the shutter speed in accordance with the shooting conditions, probably already implemented into my brain and became a reflex. Auto-ISO taking into account the focal lenght is very useful for shooting with a telephoto lens, but the Fujifilm 50-140mm f/2.8 has a stabilizer, it feels no worse than in the Nikkor 70-200 f/4 VR3 – and I have enough shutter speed to avoid blurring due to movement object of shooting.

      So, it may be not changed with a focal change: the stabilizer compensates for everything. And most importantly, the viewfinder produces a picture in the form in which it will be captured by the camera, and shows all the parameters of the photography, including the horizon and the histogram, which is very cool, because I always see when I have underexposure or overexposure. And there is no case when I accidentally tore the shutter speed in the manual mode, and then, having moved to a dark place, forgot to change the exposure settings.

      About the photos: Image 6 made in the manual mode with Auto ISO with a limitation of 6400, I put out the most open diaphragm and shutter speed required in those conditions. Children moved near the elevator, but not very active – 1/80 seemed to me optimal, though, at the stroke of the hand was not enough. In the 6th photo, too, the manual mode with Auto ISO – the child was moving and the shutter speed 1/100 was needed to compensate for the blur when driving. That’s all.

      Finally, I will add: as far as I remember, Sergey learned about the availability of this flexible ISO setting, in general, a couple of months ago from me, and this did not prevent him from shooting good shots. After reading again all that I wrote here, I realized that I was contradicting my old comments, in which I wrote that I could not, probably, abandon Nikon precisely because of this proprietary feature. But, frankly, having switched to the Fuji X-T2, I somehow did not notice its absence. I do not know why. Maybe because ergonomics suits me very well. The ISO wheel is more convenient to me than on the Nikon D800, where I missed with the click of a button. A lever, which controls the autofocus zone, is simply gorgeous.

      In addition to the grip – the body is narrow, and keeping it in one hand is not as convenient as Nikon D800. But, I think buying an additional grip will solve this problem.

      View Comment
      • Oleg says:

        Strange … Sergey above wrote that the function of setting the threshold of a certain shutter speed in the aperture priority mode is. Well, yes it does not matter: if it’s manual settings, then it’s clear that you could not get into poor lighting conditions, as in Picture 14 and Picture 16, where there is movement, but the shutter speed is set to 1/60. Therefore, all the stabilizers are not coped. Because the blur here is not related to the stabilization of camera shake. At the same time, ISO level could be increased, the shutter speed should be shorter, and there would be no blur…

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      • Sergey PAT says:

        Paul, you confused me with this “Auto ISO”. The formula for calculating the maximum possible shutter speed, at which no blur should be written: Shutter Speed = 1 / (2 * Focal Length), that is, you have a Focal Length = 55 mm SSmin = 1/110 seconds.

        Oleg, the function of setting the shutter speed threshold in mode “A” on the Fujifilm X-T2 is, but you must choose the exact exposure time yourself, and make it automatically set Shutter speed = 1 / (2 * Focal Length) depending on the focal length of the lens in the moment of shooting, it is impossible.

        Paul, this question: in difficult shooting conditions, often, when there are light drops (for example, in a narrow street, where the houses are dark and the sky is light), I have to put an exposure compensation. Sometimes very strong: -1.5 … -2.5 EV. For a DSLR, this is not a problem, in the Fuji X-T2, as it seems to me everything will be dark in the viefinder – nothing is visible. Is it so?

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        • Paul Chertalev says:

          Sergey, you did not understand me. Imagine, I have Fujinon 16-55mm f/2.8, and I set the ratio 2 => 1/(2 * Focal Length). What kind of shutter speed will the camera put out to me? 16 * 2 = 1/32 is very little. I want 1/80. And in order to reach this shutter speed at 16 mm, I need to set the factor 5 => 1/(5*16) = 1/80. But, if I install the length at 55 mm, then I will get an exposure of 1/(5*55) = 1/275. Already a lot – do not get the right exposure with this ratio.

          I do not remember exactly whether is a setting, what is the minimum shutter speed to use or not? Suppose there is – but the kids started running, I need a shutter speed shorter than the minimum 1/80, do I go back to the settings and change the minimum shutter speed? And there are always swings: a little child under the lamp ran or to the window – conditions can drastically change.

          About shooting in the dark at a long exposure – it seems there is a problem: a closed aperture, ISO 100, and on the screen, like, there should be nothing to be seen. But the Fuji X-T2 is clever: if the screen is dark and the diaphragm is closed, nothing can be seen on the display, it opens the lens aperture to the maximum and ISO is picked up imperceptibly for the photographer. And on the screen everything is visible, as on a DSLR. During shooting, sets the required parameters.

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          • Sergey PAT says:

            Paul, so for this in the menu “Auto ISO” there are both “Auto” and specific figures of shutter speed – if the conditions of shooting exposure time is too long, the photographer can set the maximum time in the menu … Okay, drove!

            About the fact that the mirrorless at night can show in the EVF a normally exposed picture I knew, and even wrote about it in the review. I was asking about the situation when you are forced to set the exposure compensation “-2.5EV” during the day. You say that the Fujifilm X-T2 camera shows in the viewfinder a picture such as it will be after pressing the “Release” button. But it should come out dark, and only when I process the RAF file in a photo editor I apply either the “Mask” or “Gradient Filter” tool, and I’ll even out the illumination of the dark and bright parts of the image.

            So, I suppose that the function “to see in EVF similar to the final image”, in this case, strongly hinders, as it obscures the image. The owner of a DSLR with OVF does not experience such problems.

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          • Paul Chertalev says:

            Although, I remember the ergonomics of the Nikon D800 – Auto ISO can always be turned off without looking up from the viewfinder, and set the right one. So, undoubtedly, this is a very convenient feature, but for me, as it turned out, not so critically needed. The big weight of the camera equipment got me much more than now the absence of Automatic ISO taking into account the focal length. In the end, most pros of photographers shoot on Canon and live well without this option.

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          • Paul Chertalev says:

            Sergey, with the exposure compensation in the “-2.5EV” picture and shown darker immediately on the screen Fujifilm X-T2, or in the viewfinder.

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          • Oleg says:

            Well. That’s almost the way Paul writes, this works in the Sony A6000 in aperture priority mode. That is, when working with long focal length, the rule Shutter speed = 1/1.5 focal length automatically turns on, which in fact, at focal lengths of 100-200 mm, gives a shutter speed of 1/200-1/ 320, which is enough to compensate for camera shake, and not very much “Sports” movement. Pavel Kravchenko, if I remember correctly, has the zoom Sony 55-210mm, on which he can also check.

            When the focal lengths are on the “wide angle position”, the whole area is below 50 mm (I do not really need to get to the camera), the Sony A6000 automatically forces 1/60, which is enough to compensate for camera shake, but a slight movement, as in the Sample Pictures 3, 6, 14 and 16 will already give blur.

            In the Nikon D5100 it is more convenient to use the setting of the forced setting of the shutter speed threshold for dynamic shooting, but once in the Sony A6000 this is not, I will be working on another skill. 🙂

            View Comment
          • Sergey PAT says:

            Oleg, I photographed on the Nikon D5100 for three years, then another year on the Nikon D610, without using this feature of Auto ISO. Only a year later, owning the full frame, I understood what’s what… So, you can live without such an option. Although, you quickly get used to good… 🙂

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  9. Paul Kravchenko says:

    As the owner of the SONY A6000, I’ll try to add my few cents to the AUTO ISO discussion… Indeed, the Sony A6000 does not have a combination to the minimum shutter speed, but… And how much does this function need? As Oleg wrote correctly, this is solved in other ways and I would not call them “clumsy”.

    Shutter speed is calculated by the shooting conditions (sports, children’s holiday, etc.), and focal length of the lens used… The exposure time that satisfies both conditions is chosen… The aperture is selected from the light conditions or from the required depth of field. Therefore, the “M” mode does its job with AUTO ISO enabled…

    I often use the “S” mode, allowing the automation to compensate for the exposure due to the aperture and only then at the expense of ISO…

    View Comment
    • Oleg says:

      Paul, believe me, I’m the owner of Nikon D5100, and now Sony A6000 (by the way, congratulations – again I was glad for your choice too, because the camera is on its own – the money is smart, we sell it for $ 600 with a KIT lens Sony 16 -50), I often used the function of setting the shutter speed threshold for a given aperture range. For some reason, Sergey calls it minimal, although in the case of a deterioration in lighting, the shutter speed from this threshold will be extended, and in the case of increased illumination, after the camera reaches the minimum ISO, shorten. When it comes to dynamic changing shooting conditions – this is, first and foremost, convenient.

      Is it critical? Of course not! Our ancestors filmed, as a matter of course, the need to manually focus, set the aperture and shutter speed. This did not affect the artistic component of the work of the last century in any way. But here, discussing in the blog of Sergey different devices and arguments for choosing everyone, we tend to be more inclined to the fact that, given the comparable quality of the (received) image, the light- recorders now pay much attention to the convenience of operating the device, based on the criteria developed by their experience.

      Here for me one of such criteria was this function. Perhaps, and because in the lower Nikon devices the wheel of variable parameters is one. In a penny by today’s standards, the mirrorless Sony A6000, I easily manage both shutter speed and aperture, when ISO is set to AUTO, and setting the range to somewhere between 100 and 800 units. So, everything is a matter of habit.

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    • Oleg says:

      Paul, the Sony A6000 has a combination to the threshold of shutter speed. How it works, I wrote in the comment above. Just implemented the Auto ISO function is strange…

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  10. Evgeny Kanivez says:

    “The working Low-ISO is approaching 3200, like a full frame” – it’s all great… Did you read the review of the prototype RED Helium on Dxomark? There’s also a APS-C sensor, even slightly smaller than the full frame: 30 mm x 16 mm, but wipes the nose of all modern rating tops, such as the Nikon D810 and the Sony A7S.

    Reading the review, the first thing that occurred to us: the giants of the photo industry are fooling us. We have always been taught that a large pixel size can catch more light, so it makes less noise and blah-blah-blah, and here such a monster is in APS-C format, you start to wonder… Suddenly, scientific progress has long coped with these problems, and the pixel size does not have decisive value?

    If you take the Nikon D7000 and the Nikon D800 / D800E / D810, then the pixel size of their sensors will be approximately comparable, and noise levels – even nearby are not worth it. Definitely, the company Nikon does it specifically, to promote cameras that are more expensive.

    Who has any thoughts on this matter? Or am I in some way mistaken?

    View Comment
    • Sergey PAT says:

      Eugeny, thank you for such a remark. I’ve never heard of such cameras as the RED… I read the review on the site Dxomark – very impressed! The future has come! For those who do not read in English, I will quote the parameters of the sensors of the most advanced DSLRs and a camera with a sensor:

      DSLR Nikon D810:
      Number of scores: 97;
      Dynamic range: 14.8 EVs;
      Color depth: 25,7 bit;
      ISO Working Class: 2853;

      The mirrorless Sony A7R II:
      Points – 98;
      DD – 14.2 (for the A7 model);
      The color depth is 26.0 (for the A7R II model);
      Working ISO: 3702 (in the A7S chamber);

      Camera Red Helium 8K S35:
      Points – 108 !!!
      Dynamic range: 15.2 EV;
      Color depth: 27,5 bit;
      Working ISO: 4210 units !!!

      In this case, as Eugeny said, the sensor size is less than on the full frame: 30mm x 16mm @ 35.4 megapixels. True, a little deters the price of the body: $ 49,500… 🙂

      About the fact that Nikon and Canon are not specifically letting out a normal APS-C, I have long said: we would like to release a camera with a sensor from the Nikon D750 (with the same working ISO), but with APS-C factor K=1.5 … But then a large the part of amateur photographers would not transfer to full frame… Now, apparently, these photographers will entice Fuji with their Fujifilm X-T2 and the X-T20…

      View Comment
      • Eugene Cr says:

        It may will be that Nikon, Canon and other giants of the photo industry can release a camera with a working ISO 5000 units. But who will buy it for $ 50,000? 🙂

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  11. Paul Chertalev says:

    Guys, hello. I installed a new firmware 2.0 on my Fujifilm X-T2, and when I read what functions were added, I found the most cherished item! Added the “AUTO” section for the minimum shutter speed in the “Automatic ISO Settings” menu, which allows the camera to automatically determine the minimum shutter speed according to the focal length of the lens used at the time of shooting.

    I checked – really, it works. For the Fujinon 16-55mm f/2.8 lens, the following shutter speeds were obtained:

    16 mm – 1/20 s;
    23 mm – 1/30 s;
    35 mm – 1/52 s;
    55 mm – 1/80 sec.

    In short, the camera’s automation selects the shutter speed according to the formula Shutter speed = 1/(1.5*Focal length). While it is impossible to combine the choice of this mode with the setting of the minimum shutter speed, but this is already cool.

    So, Fujifilm good fellows! Only we discussed Wishlist, as it already came out in the new firmware. 🙂

    View Comment
    • Oleg says:

      Cool! I flooded in order to everyone search for this topic to find in the modes of freshly purchased cameras, and maybe I was prompted by my new camera, since earlier in the comments I mentioned an article of one of the engineers “Nikon”, where he gave out the firm secret that the firmware is written by the company “Fuji”.

      And as we saw before, Fujifilm for marketing reasons still holds the bar of its software higher, even than in cameras for which it writes something about outsourcing. That’s why I really understood that either a new firmware with new functions will come out, or Paul does not use the same function that we discussed, since it would be strange to write for a competitor such a feature, and not to introduce it in the cameras of “Fujifilm X”.

      By the way, in “Sony” in this respect drive to, since even in the Sony Nex 6 it was impossible to set ISO range, and in the successor the Sony A6000 – it is already possible. But, I’m afraid, in discussing several topics with Sergey before, we correctly understood Sony’s marketing policy: if you want new functions, you buy a new camera. And it’s sad …

      View Comment
    • Oleg says:

      Paul, for the sake of interest, try to shoot with a long-focal length lens. It must be like Sony: automatic on long focal lengths to compensate camera shake when shooting with hands (I can’t remember the slang expression – it’s “blurring”, it seems), the camera should set the shutter speed to Ss = 1/1.5*FL. This is very convenient if you plan to shoot static objects – sort of like you have in a report from Finland.

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      • Paul Chertalev says:

        Oleg, I tested the Fujifilm X-T2 on the Fujifilm 50-140mm f2.8 and received the following automatic shutter speeds.

        50 mm – 1/75 s;
        70 mm – 1/105 s;
        90 mm – 1/140 s;
        140 mm – 1/210 s.

        But for the Fujinon 50-140mm f/2,8 this is not particularly important: the stabilizer is very good – I can shoot a sharp shot @ 140 mm @ f1/8 shutter speed. 🙂 Example of such a photo.

        https://fotki.yandex.ru/next/users/pchertalev/album/1468413/view/1644280

        View Comment
        • Oleg says:

          Yes, I like Sony’s stabilizer: when I met a man with a Sony 18-200, and I tried to shoot at 200 mm, it felt like I was stirring freely with a trunk, and the picture was in the viewfinder, like a glove. I will not say in f-stops, I did not have time to experiment, but by sensation, much more clearly Sony 18-200 completes VR than the same model Nikon 18-200 from Nikon.

          Apparently, the more compact dimensions of optics for mirrorless play a positive role.

          View Comment
  12. Paul Chertalev says:

    Hooray! With the update of the firmware, the Fuji X-T2 has the following function: “6. Extended AE Bracketing (Advanced Exposure Bracketing). With the update, the number of frames that can be shot in the bracket mode has increased from 3 pieces +/- 2EV to 9 pieces +/- 3EV.

    I was waiting for this release! Now up to 9 HDR frames can be done +/- 3EV! I checked, works! Cool.

    View Comment
    • Sergey PAT says:

      I commented in a separate commentary that Fuji’s main advantage is a very loyal approach to users of their cameras. If Nikon in the firmware only worsens the life of the photographer, Fujifilm for free actually gives a new camera. If I need to receive 7 frames for HDR on my Nikon D610, I have to sell it and buy Nikon D810… You with the Fujifilm X-T2 only need to update the software.

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  13. Sergey PAT says:

    It has received a question in my personal e-mail. I will answer it here:

    “Sergey and Paul, thank you very much for the review and for examples of such chic pictures taken on the Fujifilm X-T2! I’m thinking about acquiring Fuji, I think that I do not have any sense in taking the top model – judging by your article, the Fujifilm X-T20 is enough. I have enough of one standard lens Fujifilm XF 18-55mm F2.8-4 R LM OIS (the difference in price with the Fujifilm XF 16-55mm f/2.8 R LM WR X-Mount is quite significant). I do not think that in the future it will be necessary to take primes f/1.4, as I photograph on a trip, and, as I understood from other articles on the site, it is inconvenient to change them on trips.

    The question is: in my opinion, the only important difference for me, if you compare the Fuji X-T2 and the X-T20 is the presence on the top-end model the shutter speed 1/8000 second, but there is still an electronic shutter, where 1/32000 seconds exposure time. How critical is 1/4000 for the Fujifilm X-T20 instead of 1/8000?

    Sincerely, Elena.”

    My answer:

    “Elena, thank you for the kind words. Paul made excellent photos, and to write a review is easy. Especially since the Fuji X-T2 camera has impressed me!

    As for the possibility of using an electronic shutter with shutter speed of up to 1/32’000 seconds, there are limitations (they are described in the comments to Fujifilm X-M1 test): flash photography, with pulsed light sources and very fast movements. In such cases it is necessary to switch to the mechanical shutter mode.

    In my full-frame camera Nikon D610, the shutter speed is also limited to 1/4000 seconds. Over a period of more than two years possession of a DSLR took place only once, when a shorter shutter speed was needed. Therefore, in my opinion, when using f2.8…f4.0 optics, the Fujifilm X-T20 camera should not deliver problems to its owner. Ultra-short exposure times will be necessary with the Fujifilm XF 16mm f/1.4, Fujifilm XF 56mm f/1.2, Fujifilm XF 23mm f/1.4 or Fujifilm XF 35mm f/1.4.

    I wish you a successful selection and the next chic shots! If you decide to buy the X-T20, read in the early comments the description of additional grips with a platform for fast shooting on a tripod in a vertical position (L-plate).”

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    • Oleg says:

      Very interesting Elena’s statement lens Fujinon 18-55mm f/2.8-4. I wonder how she sees its application, that is – WHAT does she photograph on the journey? Almost all of the early articles of Sergey’s blog are illustrated with pictures from his fast zoom Nikon 17-55mm f/2.8, and they are gorgeous. At the same time, I often came across the situation when in the trip is still more convenient to have lens with a larger zoom – Nikon 18-105 or Nikon 18-200.

      Is there an inexpensive universal zoom with such focal lengths in the Fuji line? We can take for Sony a slow zoom Sony 18-200 for the sum of about $ 300, and I think if you look at the pictures that the light recorders do with it, you can agree that the pictures from it are obtained as for the universal zoom, not bad!

      And what about the travel-zooms for Fuji?

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      • Sergey PAT says:

        Fujifilm has the travel zoom Fujinon XF 18-135mm f/3.5-5.6 R LM OIS WR, but I will not agitate for it or for the Fujinon XF 18-55mm F2.8-4 R LM OIS. I suggest all those photographers who are going to buy a lens, read my article “Why do I need a fast lens” and decide consciously what is more important: aperture or focal length. Although, personally, I choose the lens speed… But if the photographer says that the other optics are not going to buy, then the travel-zoom lens Fujinon XF 18-135mm f/3.5-5.6 looks tempting.

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        • Oleg says:

          Sergey, do you remember that in some of the feeds of the commentaries, we discussed your choice of the Nikon 24-70mm f2.8, and I wrote that for many people, as a standard lens, for the beginning, is useful the Nikon 24-85mm f3.5-4, 5. I had such a lens, and I, in order not to lie, took it, it seems, for $ 150, and the picture from it was acceptable, even though it is a KIT.

          So, the aperture f/2.8-4 on the zoom – it’s almost the same f/3.5-4.5. Believe me, this difference with the KIT lens does not solve ANYTHING. It’s not even a difference in f-stop! If we were talking about the choice of a zoom with a constant aperture of f/2.8, but with smaller focal lengths or larger focal lengths… but a slow zoom is a polar dots on which there is a priority of aperture or focal length. But a semi-slow travel zoom with cut focal length… it’s neither fish nor meat.

          Although, perhaps Elena knows why she needs such a compromise. I would choose at the slow zoom of Fujinon 18-135, and if necessary I would buy something fast with focuses specifically for tasks.

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    • Paul Chertalev says:

      Sergey, I absolutely agree. If you use only a KIT lens, a shutter speed of 1/8000 seconds is not needed at all. And if we talk about one universal travel lens, I would recommend looking at the Fujifilm 18-135mm f/3.5-5.6 – it will allow you to shoot yet remote objects. Its review can be found here.

      But having one lens for everything, it’s very nice to take some very compact, fast prime portrait lens like the Fujifilm 35mm f/1.4 or Fujifilm 35mm f/2, or Fujifilm 23mm f/2. In the end, no one canceled the shooting on vacation after sunset, and the portraits are beautiful with a blurry background very pleasingly diversify the photographs from the holiday.

      I want to add something about the electronic shutter: I took several pictures of the child in the hospital with a silent electronic shutter, and images clearly showed some bands (I can put examples). I do not know what it is – perhaps the flickering of fluorescent lamps or the artifacts of the work of the electrician on the sensor, but in the future I will avoid using the electronic shutter.

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      • Oleg says:

        If such bands appear and when shooting in the sun – obviously, the faulty work is in the shutter. But, I think, this is most likely the frequency of the lamp flicker is superimposed.

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    • Paul Chertalev says:

      Here is a photo. Clearly visible are the brown stripes.

      https://fotki.yandex.ru/next/users/pchertalev/album/1468413/view/1644357

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      • Sergey PAT says:

        Paul, I do not really see the band… But you do not want to read the comments. 🙂 Above I wrote, when the electronic shutter on the mirrorless Fujifilm X can’t be used and gave a link to a detailed description – it says that when shooting at flickering light sources in the electronic shutter mode, it is possible that there bands appear.

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        • Paul Chertalev says:

          Sergey, 3 bands are on the picture:

          – one on top passes through the head of the wife – a transition is seen in the forehead on the wall;
          – the second in the middle passes exactly through the head of the daughter and forearm, and the shoulder of the wife, and is visible on the doctor’s back just behind the neck;
          – the third passes through the elbow of the doctor and is visible on the table.

          Here’s GIF which I did to get a better view.

          https://fotki.yandex.ru/next/users/pchertalev/album/1468413/view/1644358

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  14. Sergey PAT says:

    Paul, thank you very much for the example video in 4K format, shot on your mirrorless Fujifilm X-T2. Added it to the review text before Photo Sample 24. My monitor has a lower resolution, but it’s still nice to watch! You’ve become a professional video player. 🙂

    Please answer the following questions:

    1) Which microphone is the sound recorded on? Built-in or external? Unlike my Nikon D610, the sound of the lens engine drive is not audible. If the microphone is external, what model? A recorder of what?
    2) Did you shoot on the tripod?
    3) Starting at 6:26 seconds of the video, horizontal bands appear to the end. What is it? Demonstration of how the electronic shutter works poorly in fluorescent lighting conditions?

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    • Paul Chertalev says:

      Hello, Sergey.

      1. The sound on the video is recorded on the built-in microphone Fujifilm X-T2. In conditions of concert performance, when the speakers rumble and the audience rustle, nothing is audible when shooting with any lens. In my video, the shooting of the performance where a camera microphone was used was executed on the Fujifilm 16-55mm f/2.8 lens. This lens has a perfect noiseless autofocus motor, so that even in complete silence nothing is audible.
      2. Video footage of the performance shot from a tripod, the rest of the cutting was shot on the hands of different lenses. Than they were stabilized in a special video converter, and finalized in Pinnacle.
      3. I did not notice the bands during the installation – then it was already late to change something. In short, I realized that with a certain exposure, somewhere around 1/50-1/60 seconds, in the light of luminescent lamps, flickering bands appear. When the shutter speed is increased above 1/60 (for example, to 1/80 and 1/100), this flicker disappears on the video. Moreover, the higher the shutter speed, the less noticeable the flicker. Perhaps this is the effect of the electronic shutter.

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      • Sergey PAT says:

        Paul, I read carefully your answer, and a lesson for shooting video with a digital camera. There is a section “exposure ratio and frame rate for video-quality” in it, which states that the exposure time of 1/60 seconds when using indoors are in frame flicker because the current frequency is 60 Hz.

        So, not only the Fujifilm X-T2 issued to flickering video in the circumstances, but any DSLR. It is necessary to set the shutter speed either 1/50 or 1/100 seconds.

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  15. GOL says:

    The charge consumption in standby mode and turn on the speed – this is the problem of mirrorless and advantage of DSLRs.

    The medium format mirrorless with the sensor 150 MP and the lens type MP 32 mm f2 with the stabilizer – is better than the Fujifilm X-T2 with a sensor 24MP Fujifilm 16-55 f2.8 lens.

    Of course, the Fuji 16-55mm f/2.8 will give a half times more detail on 55 mm distance, but on medium format can be installed Fujinon GF 110mm F2 R LM WR, which is also on the details lose Fujifilm 50-140mm f/2.8 R LM OIS WR and a half times from afar, but it will give up to 6 times more detail at wide-angle. And consider the small details in a crowd of people is very interesting, plus aperture is one stop anymore.

    In addition, for medium format it is already 65 mm f1.4, though it is huge and no autofocus.

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    • Sergey PAT says:

      The question “which camera is better” is very versatile. And without the addition of “for use in such a field and in a certain genre” it does not make sense. Medium format camera is better, perhaps, to studio shooting, followed by printing photos on the posters of size 3 * 5 meters, for a person who earns a hundred thousand selling his pictures. And for the traveler, which shoots reports from the competitions in the race bulls PaCu Jawi (Pacu Jawi) in Indonesia, this camera cannot be acceptable simply because it is “hindrance”. For a photographer shooting product photography for an online store, even the Fujifilm X-T10 camera is excellent (although, I think and the Fujifilm X-A3 is useful for this application).

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