Mir­ror­less Cam­era So­lu­tions For The Dis­cern­ing Pho­tog­ra­pher With its two award-win­ning X Mount flag­ships, Fu­ji­film of­fers you the choice of the SLR-style X-T2 or the clas­si­cally tra­di­tional X-Pro2 with its in­no­va­tive hy­brid op­ti­cal/elec­tronic viewfinder.

Camera - - ON TRIAL -

FU­JI­FILM X-T2 Bal­ance And Power

The X-T1 was an out­stand­ing cam­era – Fu­ji­film hasn’t put a foot wrong with its X Mount pro­gram since it was launched in 2012 – but the X-T2 bet­ters it just about ev­ery­where. Con­se­quently, in the ‘APS-C’ size sen­sor cat­e­gory, it’s the most se­ri­ous threat to the D-SLR there is. And, iron­i­cally, the X-T2’s styling gives it clas­sic SLR looks, but with all the prac­ti­cal ben­e­fits of the mir­ror­less cam­era con­fig­u­ra­tion, in­clud­ing more com­pact di­men­sions. The thor­oughly tra­di­tional dial-based con­trol lay­out pro­motes both ef­fi­ciency and com­fort­able op­er­a­tion.

There’s a sure-footed con­fi­dence about the X-T2’s over­all de­sign too, which means that it sim­ply works with an ef­fort­less smoothness fur­ther en­hanced by a few small but none­the­less sig­nif­i­cant im­prove­ments to the er­gonomics, in­clud­ing the ad­di­tion of a joy­stick con­trol for quicker switch­ing of the fo­cus­ing points.

Yet Fu­ji­film isn’t afraid to think out­side the square ei­ther, so the X-T2’s mon­i­tor screen has a clever tilt ar­range­ment which al­lows for ad­just­ments when the cam­era is be­ing held ver­ti­cally too. Some­body in Fu­ji­film’s de­sign de­part­ment clearly un­der­stands there can be a big dif­fer­ence be­tween ideas on pa­per and their ac­tual im­ple­men­ta­tion in the field.

And this same deft touch is ev­i­dent on the inside, start­ing with the lat­est gen­er­a­tion of ‘X-Trans CMOS’ sen­sor… still surely the best thought-out so­lu­tion to do­ing away with the op­ti­cal low-pass fil­ter, but still pro­vid­ing an ef­fec­tive de­gree of cor­rec­tion for moiré pat­terns. The gen-three chip is now up to 24.3 megapix­els – prob­a­bly the sweet spot for ‘APS-C’ sen­sor in terms of pixel size – and mated with the ‘X-Pro­ces­sor Pro’ high­speed engine, en­abling the X-T2 to be the first X Se­ries model to have 4K video record­ing.

Boosted Per­for­mance

With the op­tional ‘Ver­ti­cal Power Booster Grip’ fit­ted, the cam­era gains a num­ber of key per­for­mance en­hance­ments, in­clud­ing con­tin­u­ous shoot­ing at 11 fps and ex­tended 4K record­ing. It also al­lows for in-cam­era bat­tery charg­ing and pro­vides a stereo au­dio out­put for con­nec­tion of head­phones. To keep pace, the OLED-type EVF has a re­fresh rate of 100 fps in the cam­era’s ‘Boost’ mode, and can op­er­ate at a shoot­ing speed of 5.0 fps with­out any black-out.

The new aut­o­fo­cus­ing sys­tem em­ploys hy­brid con­trast/phase

de­tec­tion mea­sure­ment – with a to­tal of 325 mea­sur­ing points, 169 of them us­ing phase-dif­fer­ence de­tec­tion. Con­se­quently, it’s faster and more flex­i­ble, in­clud­ing the ca­pac­ity to fine-tune the sub­ject track­ing for the type of sub­ject move­ment and, among other pa­ram­e­ters, the re­sponse to an in­ter­rup­tion caused by a blocked shot. Var­i­ous pre-set fo­cus­ing sce­nar­ios can be se­lected and fine-tuned so the X-T2 is now com­pet­i­tive with the higher-

What makes the Fu­ji­film X-T2 a win­ner is that it’s all so log­i­cally and in­tu­itively ac­ces­si­ble… yet it’s still a real ex­pe­ri­ence to use.

end D-SLRs when it comes to aut­o­fo­cus­ing per­for­mance.

There are plenty of new features which keep the XT-2 punch­ing well above its weight: a big­ger buf­fer mem­ory, 14 fps shoot­ing with its sen­sor shut­ter (and a top speed of 1/32,000 sec­ond), dual SD mem­ory card slots (both with UHS-II sup­port), an in­ter­val­ome­ter (for time-lapse se­quences) and wire­less TTL flash con­trol when fit­ted with the new EF-X500 ac­ces­sory flash unit. The list goes on and, con­se­quently, there isn’t much that Fu­ji­film hasn’t thought about with this cam­era. But what makes the X-T2 a win­ner is how it is all so in­tu­itively ac­ces­si­ble… yet it’s still a real ex­pe­ri­ence to use. Few cam­era de­signs ever get this ab­so­lutely right. Fu­ji­film has here… con­vinc­ingly.

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