Fu­ji­film’s X Mount baby is all growed up as the new X-T20 gets a higher-res sen­sor, faster pro­cess­ing, a sig­nif­i­cantly up­graded aut­o­fo­cus sys­tem, 4K video and much more.

Camera - - ON TRIAL -

Fu­ji­film has been hit­ting home runs with its X Se­ries cam­era ever since it stunned us with the orig­i­nal X100 at the 2010 Pho­tok­ina. How­ever, the first foray into a more af­ford­able en­try-level X Mount model, the X-T10 was a bit of a miss… well, not ex­actly a miss, but not ex­actly a hit ei­ther. There was cer­tainly noth­ing wrong with the way it looked, but it lacked the usual piz­zazz that we’ve come to ex­pect from Fu­ji­film’s X files.

With the X-T20, things are back on track with sig­nif­i­cant up­grades which make it a pretty at­trac­tive propo­si­tion while still main­tain­ing a re­spect­ful dis­tance from the X-T2. It moves up in pric­ing too, mak­ing it now more mid-range than en­trylevel, but if you’re in the mar­ket for an ‘APS-C’ mir­ror­less body, the X-T20 looks like A Very Good Thing.

Im­por­tantly, while the in­ter­nals have been given a thor­ough over­haul, Fu­ji­film hasn’t changed too much ex­ter­nally so you still get what’s ar­guably the most retro-look­ing SLR-style body of the cur­rent mir­ror­less brigade, even more so than the very clas­si­cal X-T2. The wider cen­tral hous­ing for the X-T20’s EVF – and also its pop-up flash – is very rem­i­nis­cent of the Fu­jica ST901’s flat­ter pen­taprism hous­ing and the fairly deep bodyshell is also a char­ac­ter­is­tic of this mid-1970s 35mm SLR. The top deck’s con­trol lay­out is pure 1970s SLR with a

trio of knurled di­als, lever-type switches and even a ca­ble re­lease socket set into the chromed shut­ter re­lease but­ton. As the one-time owner of a Fu­jica ST605 – my first ‘se­ri­ous’ 35mm SLR as a teenager – the X-T20 re­ally does take me back, although of course, that cam­era only ac­tu­ally had one dial and the other po­si­tions on the top plate were oc­cu­pied by the film ad­vance lever and film rewind crank.

The X-T20’s trio of di­als are for shut­ter speeds, ex­po­sure com­pen­sa­tion and drive modes in­clud­ing as­so­ci­ated func­tions such as auto brack­et­ing, mul­ti­ple ex­po­sures (ac­tu­ally still only for dou­ble ex­po­sures) and in-cam­era panorama stitch­ing. Log­i­cally, this dial also sets the movie mode and, for good mea­sure, the in­cam­era fil­ter ef­fects… some­thing the Fu­jica ST605 def­i­nitely didn’t have. The shut­ter speed dial is marked with the man­ual speeds from 1/4000 se­cond down to one se­cond with the ‘T’ for ac­cess­ing the slower speeds (and not to be con­fused with a ‘T’ set­ting for tim­ing longer ex­po­sures, which is done here via the stan­dard ‘B’ set­ting). Turn­ing the speed dial to its ‘A’ po­si­tion en­gages aper­turepri­or­ity auto ex­po­sure con­trol – just like in the good old days – and fully pro­grammed ex­po­sure con­trol op­er­ates if the lens aper­ture col­lar is also set to ‘A’. Leave this on ‘A’, but set the shut­ter dial to a man­ual speed set­ting and, of course, you have shut­ter-pri­or­ity auto ex­po­sure con­trol. Some XF lenses don’t have an aper­ture con­trol, in which case, there’s a switch for se­lect­ing auto or man­ual con­trol, the lat­ter per­formed from the cam­era body.

Both these main di­als have se­lec­tor switches lo­cated at their bases – the one be­low the drive dial pops up the built-in flash while the one be­low the speed dial en­gages ei­ther the X-T20’s fully au­to­matic con­trol via a set of sub­ject/scene modes or ‘Ad­vanced SR Auto’ op­er­a­tion which ex­tends to au­to­matic scene mode se­lec­tion (and con­trols a whole host of other func­tions). The ex­po­sure com­pen­sa­tion dial is marked from +3.0 EV to -3.0 EV (in one-third stop in­cre­ments), but as on the X-T2 and X-Pro2, there’s a ‘C’ set­ting which ac­cesses an ex­tended range of +/-5.0 EV, se­lected us­ing the front in­put wheel.

There’s also a rear in­put wheel – both are ac­tu­ally in­set into their re­spec­tive pan­els for more of a pe­riod look – but the X-T20’s rear panel is ob­vi­ously pure dig­i­tal-era, com­plete with a four-way nav­i­ga­tor key clus­ter, var­i­ous func­tion but­tons and a mon­i­tor screen which, as be­fore, is a 7.62 cm, 3:2 as­pect LCD panel ad­justable for tilt, but with an in­creased res­o­lu­tion of 1.04 megadots and, more im­por­tantly, the pro­vi­sion of touch­screen con­trols.


The viewfinder is largely un­changed from the X-T10 and uses a 1.0 cm OLED panel (so it’s smaller than the X-T2’s) with a res­o­lu­tion of 2.36 megadots and a magni- fi­ca­tion of 0.62x (35mm for­mat equiv­a­lent). A prox­im­ity sen­sor on the eye­piece en­ables au­to­matic switch­ing be­tween EVF and mon­i­tor, but ei­ther can also be man­u­ally se­lected via the ‘View Mode’ but­ton along­side the eye­piece.

Also as be­fore, the main body cov­ers are mag­ne­sium al­loy com­po­nents, and with­out any weather seal­ing. As noted ear­lier, there’s an im­per­a­tive not to en­croach too much into X-T2 ter­ri­tory – espe­cially given there’s still a fairly sub­stan­tial price dif­fer­ence be­tween the mod­els – and weather-proof­ing will be an im­por­tant con­sid­er­a­tion for many en­thu­si­ast-level buy­ers.

That said, two of the X-T20’s key com­po­nents are shared with the X-T2 – its 24.3 megapix­els (ef­fec­tive) ‘X-Trans CMOS III’ sen­sor and the ‘X-Processor Pro’ pro­cess­ing engine. The ‘X-Trans’ ar­chi­tec­ture does away with the need for an op­ti­cal low-pass fil­ter so the sen­sor’s 24.3 MP res­o­lu­tion is op­ti­mised, while the ex­tra speed and power of the pro-grade processor de­liv­ers 4K video record­ing – im­por­tant for a cam­era com­pet­ing against com­pa­ra­ble Pana­sonic and Sony mod­els – and con­tin­u­ous shoot­ing at up to 14 fps. Like its big brother, the X-T20 has both a con­ven­tional fo­cal plane shut­ter and a sen­sor­based shut­ter which gives a third or hy­brid shoot­ing op­tion… the so-called ‘elec­tronic first cur­tain shut­ter’. The 14 fps shoot­ing speed is only at­tained with the sen­sor shut­ter, but a re­spectable 8.0 fps is still pos­si­ble with the fo­cal plane shut­ter. Both these speeds are only achieved by lock­ing the AF and AE mea­sure­ments to the first frame, but with con­tin­u­ous frame-by-frame ad­just­ment, the top speeds are 11 fps and 5.0 fps re­spec­tively, so the X-T20 is no slouch.

Apart from the in­creased shoot­ing speed, the other ad­van­tages of the sen­sor shut­ter are silent shoot­ing and a faster top shut­ter speed of 1/32,000 se­cond… which is a lit­tle more sig­nif­i­cant here, as the FP shut­ter’s top speed is 1/4000 se­cond (ver­sus the T2’s 1/8000 se­cond).

The X-T20 only has a sin­gle card slot for SD for­mat types - which is an­other im­por­tant dif­fer­ence to the X-T2 - and UHS-I speed only. Max­i­mum size JPEGs and RAW files are cap­tured at 6000x4000 pix­els, the lat­ter with 14-bit RGB colour and the op­tion of be­ing

The X-T20 siTs very nicely in The hand. The grip is quiTe small, buT iT’s ac­Tu­ally all you need.

ei­ther un­com­pressed or us­ing loss­less com­pres­sion (for a smaller file size). There’s the choice of 3:2, 16:9 and 1:1 as­pect ra­tios for JPEGs, and proper in-cam­era stitch­ing of panora­mas to give wide im­ages sized at 2160x6400 (i.e. 1:3 as­pect) or 2160x9600 (1:4.4). The sen­si­tiv­ity range is equiv­a­lent to ISO 200 to 12,800 with ex­pan­sion down one stop to ISO 100 or up two stops to ISO 51,200.

The X-T20 has the full com­ple­ment of ‘Film Sim­u­la­tion’ pre­sets which cur­rently num­ber 15 and in­clude the re­cent ad­di­tions of the Ko­dachrome-looka­like Clas­sic Chrome and ACROS black and white with the op­tion of adding yel­low, red or green con­trast con­trol fil­ters. As the name sug­gests, Fu­ji­film’s pic­ture pre­sets have been de­signed to mimic the vis­ual char­ac­ter­is­tics of pop­u­lar colour films such as Provia, As­tia and Velvia – and now ACROS B&W – so they don’t have in­di­vid­u­ally ad­justable pa­ram­e­ters. In­stead, ‘global’ ad­just­ments are pro­vided for colour sat­u­ra­tion, sharp­ness, high­light tone and shadow tone. Also added to the mix is a ‘Grain Ef­fect’ ad­just­ment with the choice of Weak or Strong set­tings, and which gen­er­ates a more ran­dom film-like grain­i­ness.

There’s a choice of three man­ual set­tings for dy­namic range ex­pan­sion pro­cess­ing – called 100%, 200% and 400% – or an au­to­matic cor­rec­tion which as­sesses the bright­ness range in the scene and tweaks both the ex­po­sure and the tone curve ac­cord­ingly. The X-T20 has Fu­ji­film’s ‘Lens Mo­du­la­tion Op­ti­miser’ (LMO) pro­cess­ing which de­tects and cor­rects for dif­frac­tion blur, an in­ter­val­ome­ter (for up to 999 frames) and a se­lec­tion of eight ‘Ad­vanced Fil­ters’ ef­fects which is quite con­ser­va­tive by cur­rent stan­dards, but in­cludes the pop­u­lar set­tings such as Toy Cam­era, Minia­ture, Soft Fo­cus, Par­tial Colour (with six vari­a­tions) and Pop Colour. You’ll note that there’s no lens cor­rec­tions in­cluded in this run-down as this is some­thing Fu­ji­film leaves to the cam­era, although log­i­cally these are pro­vided for man­ual ad­just­ment when us­ing a non X-mount lens via an adap­tor.

Quick Sharp

The X-T20 in­her­its Fu­ji­film’s lat­est hy­brid con­trast/phase-de­tec­tion aut­o­fo­cus­ing sys­tem as avail­able on the X-T2 and the X-Pro2 via a firmware up­grade. Con­se­quently, there’s a to­tal of 325 fo­cus­ing points – ar­ranged in a 25x13 pattern – of which 169 are phasede­tec­tion ar­rays.

Fo­cus mode se­lec­tion is done man­u­ally via a con­trol on the cam­era’s front panel, and then there’s a choice of sin­gle­point, zone or wide/track­ing area modes. Sin­gle-point se­lec­tion is pos­si­ble over the full ar­ray of 325 points, but there is the op­tion of switch­ing to us­ing only 91, and there’s a choice of five point sizes. How­ever, the X-T20 goes with­out the ded­i­cated joy­stick con­trol so nav­i­gat­ing the points is via the four­way key clus­ter. The zone fo­cus can be set to 7x7, 5x5 or 3x3 points clus­ters which are se­lected from the 91 points. There’s also face­and eye-de­tec­tion ca­pa­bil­i­ties, plus ‘AF-C Cus­tom’ menu from the X-T2 which pro­vides five sub­ject move­ment sce­nar­ios to en­able fine-tun­ing of the fo­cus track­ing.

These five op­tions are la­belled Multi Pur­pose, Ig­nore Ob­sta­cles & Con­tinue To Track Sub­ject, For Ac­cel­er­at­ing/De­cel­er­at­ing Sub­ject, For Sud­denly Ap­pear­ing Sub­ject, and For Er­rat­i­cally Mov­ing & Ac­cel/ De­cel Sub­ject. While this model doesn’t have the T2’s sixth ‘AFC Cus­tom’ set­ting for man­u­ally cus­tomis­ing the track­ing, the five pre­sets are still a big step for­ward at this level, espe­cially as aut­o­fo­cus­ing per­for­mance – par­tic­u­larly in con­tin­u­ous mode – is one of the last bas­tions of the D-SLR.

The X-T20 also of­fers in­ter­lock­ing of the AF point and spot me­ter­ing, an AF+MF func­tion for full-time man­ual over­ride, and a Pre AF mode in which the cam­era is con­tin­u­ously aut­o­fo­cus­ing even with­out the shut­ter be­ing de­pressed to its half-way po­si­tion.

The as­sists for man­ual fo­cus­ing com­prise a mag­ni­fied im­age (also avail­able with AF too), a fo­cus peak­ing dis­play (with a choice of colours and lev­els) and Fu­ji­film’s ‘Dig­i­tal Split Im­age’ fa­cil­ity. This can be ei­ther su­per­im­posed over the cen­tre of the im­age or full­frame when the ‘Fo­cus Check’ mag­ni­fi­ca­tion is ac­tive plus there’s the op­tion of colour (i.e. trans­par­ent) or mono dis­plays. It works just like the old op­ti­cal split-im­age rangefinder ex­cept that there are three splits rather than just one. These splits are mis­aligned when the sub­ject is out of fo­cus, so fo­cus­ing the lens brings them to­gether. We’ve crit­i­cised this fea­ture in the past be­cause the splits have been very hard to see, but it’s much bet­ter im­ple­mented on the X-T20 and ac­tu­ally works rather well, espe­cially in mono.

The X-T20’s ex­po­sure con­trol sys­tem is pretty much stan­dard X-Mount fare, start­ing with 256-seg­ment me­ter­ing which drives multi-zone, cen­tre-weighted av­er­age, fully av­er­aged or spot mea­sure­ments. As noted ear­lier, the stan­dard set of pro­gram, semi-auto and man­ual ex­po­sure modes are sup­ple­mented by a set of sub­ject/ scene modes and the op­tion of auto scene mode se­lec­tion. The built-in flash is very neatly in­te­grated into the cen­tral hous­ing, but is fairly low pow­ered with a met­ric guide num­ber of seven at ISO 200 and just five at ISO 100. How­ever, there’s a host of TTL con­trol fea­tures, in­clud­ing slow-speed sync, first or se­cond cur­tain sync and an op­ti­cal com­man­der mode for the re­mote trig­ger­ing of com­pat­i­ble off-cam­era flashes. The max­i­mum flash sync speed is 1/180 se­cond. In man­ual mode, the flash out­put can be turned all the way down to 1/64.

Auto brack­et­ing is avail­able not just for ex­po­sure, but also the ISO, white bal­ance, the ‘Film Sim­u­la­tion’ pre­sets and the dy­namic range cor­rec­tion. All op­er­ate over three frames. On the sub­ject of white bal­ance, the X-T20 has auto cor­rec­tion sup­ple­mented by a se­lec­tion of seven pre­sets (in­clud­ing for un­der­wa­ter), fine-tun­ing, pro­vi­sions for cre­at­ing up to three cus­tom set­tings and man­ual colour tem­per­a­ture con­trol over a range of 2500 to 10,000 de­grees Kelvin.

In The hand

Smaller than ei­ther the X-T2 or X-Pro2, the X-T20 sits very nicely in the hand. The hand­grip is quite small, but it’s ac­tu­ally all you need and is sup­ple­mented by a thum­brest - which is handy given how of­ten you need to use the rear in­put wheel.

The ex­ter­nal con­trol lay­out is ex­cep­tion­ally ef­fi­cient with some very well-thought-out lit­tle fea­tures such as the full-auto switch men­tioned ear­lier, but also the pro­vi­sion of two auto brack­et­ing po­si­tions on the drive dial and also two for ‘Ad­vanced Fil­ter’ ef­fects. Once as­signed, these set­tings are the twirl of a dial away so you don’t have to go div­ing into the menus ev­ery time. A to­tal of eight con­trols are cus­tomis­able –in­clud­ing all four nav­i­ga­tor keys and the rear in­put wheel – from a se­lec­tion of 33 pos­si­ble func­tions. There’s also a cus­tomis­able ‘My Menu’ which can be stocked with pretty much any­thing you like from the main menus and then ranked in or­der of im­por­tance.

An al­ter­na­tive con­trol sys­tem is the ‘Quick Menu’ which has 16 de­fault func­tions, but again can be cus­tomised as de­sired from a list of 28 as­sign­a­ble op­tions… from which no fewer than seven banks can be cre­ated. Cu­ri­ously though, touch­screen con­trol isn’t avail­able here so you have to nav­i­gate the func­tion tiles con­ven­tion­ally via the four-way key clus­ter.

If you’re mak­Ing buy­Ing de­cI­sIons on Im­age qual­Ity alone, the X-t20 Is rIght up there wIth the best there Is In ‘aps-c’ mIr­ror­less cam­eras.

As on the other X-Mount mod­els, Fu­ji­film also of­fers a lot of scope for cus­tomis­ing the X-T20’s EVF and mon­i­tor dis­plays. Both are ad­justable for bright­ness and colour bal­ance, and then you can add or sub­tract el­e­ments as de­sired and these in­clude a level dis­play (only sin­gle-axis here though), bat­tery power in­di­ca­tor, fo­cus­ing scale, guide grids (3x3 or 6x4), a real-time his­togram and a whole host of sta­tus in­di­ca­tors.

How­ever con­fig­ured though, both dis­plays are the same, but the main mon­i­tor also has info-only dis­play which is pri­mar­ily de­signed to be used in con­junc­tion with the EVF. It pro­vides a host of in­for­ma­tion in­clud­ing the AF point grid, a re­al­time his­togram, ex­po­sure set­tings and a to­tal of 15 cap­ture set­tings.

In re­al­ity, the touch­screen con­trol­la­bil­ity is fairly lim­ited, although it does in­clude aut­o­fo­cus­ing and shut­ter re­lease. How­ever, it’s not avail­able with the menus or the ‘Quick Menu’ so it’s ac­tu­ally most use­ful in play­back for brows­ing or zoom­ing.

There are three im­age re­play/ re­view screens which in­clude a full frame im­age with cap­ture data or thumb­nails ac­com­pa­nied by cap­ture data, a high­light warn­ing, a bright­ness his­togram and, very use­fully, the fo­cus point used. Press­ing the rear com­mand dial in­stantly zooms in on this point for check­ing the fo­cus.

Al­ter­na­tively, con­ven­tional zoom play­back is avail­able or, in the op­po­site di­rec­tion, pages of nine or 100 thumb­nails.

The in-cam­era edit­ing func­tions in­clude RAW-to-JPEG con­ver­sion (with 13 ad­justable pa­ram­e­ters), red-eye re­moval, crop­ping, re­siz­ing, Fu­ji­film’s ‘Pho­toBook As­sist’ fea­ture (which al­lows for up to 300 im­ages to be or­gan­ised for re­pro­duc­tion in a photo book) and di­rect print­ing to an In­stax in­stant print de­vice via WiFi.

Fu­ji­film is steadily im­prov­ing its WiFi con­nec­tiv­ity. It was pretty clunky at the start and set­ting up is still not as smooth as it could be, but the Fu­ji­film Cam­era Con­trol app is pretty ca­pa­ble and al­lows for re­mote cam­era op­er­a­tion as well as wire­less im­age trans­fer.

Speed And per­for­mAnce

With our ref­er­ence mem­ory card – Lexar’s 128 GB SDXC UHS-II/ U3 (Speed Class 3) Pro­fes­sional – loaded up, the X-T20 (us­ing the fo­cal plane shut­ter) cap­tured a burst of 100 JPEG/large/fine files in 12.585 sec­onds, giv­ing a shoot­ing speed of 7.94 fps. This pretty well matches Fu­ji­film’s quoted spec for speed, but sig­nif­i­cantly ex­ceeds the quoted burst length. For the record, the av­er­age test file size was around 15 MB and so the X-T20 pro­cessed close to 1.5 GB of data in un­der five sec­onds.

We’ve al­ready seen how Fu­ji­film’s com­bi­na­tion of the 24.3 MP ‘X-Trans CMOS III’ sen­sor and ‘X-Processor Pro’ engine per­form in the X-Pro2 and X-T2, so it’s no sur­prise here that the X-T20 is sim­i­larly ex­cel­lent. In fact, it’s in the area of im­age qual­ity that the X-T20 sails per­ilously close to its big brother and starts to make the price dif­fer­ence wor­thy of much closer scru­tiny, par­tic­u­larly in light of the fact that the aut­o­fo­cus­ing per­for­mance is so good too, both in terms of speed and ac­cu­racy. So… ex­actly what am I get­ting with the X-T2 then? Well, as we know, there are quite a few im­por­tant ex­tras, but if you’re mak­ing buy­ing de­ci­sions on im­age qual­ity alone… well, the X-T20 is right up there with the best there is in ‘APS-C’ mir­ror­less cam­eras. In fact, it’s right up there with the best there is in mir­ror­less cam­eras full stop. Yep, good.

The best qual­ity JPEGs ex­hibit ex­cel­lent colour fidelity and def­i­ni­tion with a wide dy­namic range. Fine de­tails are very crisply

Given how well the X-t2 per­forms at hiGh iso set­tinGs, it’s not sur­pris­inG that the X-t20 is equally ac­com­plished here too.

re­solved and the tonal gra­da­tions are seam­lessly smooth so more­sub­tle de­tail­ing is han­dled well too. As we noted with the two higher-end cam­eras, Fu­ji­film’s ‘Film Sim­u­la­tion’ pre­sets are far more so­phis­ti­cated than most, hav­ing been de­signed to bal­ance col­ori­met­ric colour – or real colour – with ex­pected or ‘mem­o­rised’ colour. This re­sults in a defter han­dling of both the colour sat­u­ra­tion and con­trast, com­bin­ing re­al­ism with a more pleas­ing ren­di­tion. Brack­et­ing an im­age in the Provia/Stan­dard, Velvia/Vivid and As­tia/Soft pre­sets il­lus­trates the point… it’s not just about di­alling one or other pa­ram­e­ter ei­ther up or down, but about cre­at­ing an over­all look. It’s what we used to call the “pal­ette” in the film days. With the newish ACROS pre­sets, Fu­ji­film is now do­ing the same with B&W cap­ture, giv­ing more scope to work with tonal­ity and grain. Im­por­tantly too, the ‘Film Sim­u­la­tion’ pre­sets are proper pro­files so the pa­ram­e­ters can be ad­justed post-cap­ture when shoot­ing RAW files.

Given how well the X-T2 per­forms at high ISO set­tings, it’s not sur­pris­ing that the X-T20 is equally ac­com­plished here. Noise sim­ply isn’t an is­sue up to ISO 3200 and is still min­i­mal at ISO 6400 or even ISO 12,800 - although there’s now some very slight grain­i­ness in ar­eas of con­tin­u­ous tone. This be­comes more no­tice­able at ISO 12,800, but in prac­tice the whole the stan­dard sen­si­tiv­ity range is ac­tu­ally use­able with­out un­duly com­pro­mis­ing IQ at the high end. So, as with the X-T2, the T20 is one of the out­stand­ing high ISO per­form­ers in the ‘APS-C’ for­mat, ei­ther D-SLR or mir­ror­less cam­era.

The Ver­dIcT

If the X-T2 is the best mir­ror­less cam­era money can buy right now then the X-T20 has to stake a big claim for be­ing the best value. True it cer­tainly lacks quite a few of the T2’s higher-end fea­tures, but in the ar­eas which mat­ter the most – headed by the im­age qual­ity – it’s right up there. But a whole lot more af­ford­able… a whole lot more.

In ad­di­tion to the IQ, there’s the AF per­for­mance and the con­tin­u­ous shoot­ing ca­pa­bil­i­ties which all con­trib­ute to this lit­tle cam­era punch­ing well above its weight. And is it the pret­ti­est of the cur­rent X Mount crop? Well, com­pared to the busi­ness-like X-T2 and the slightly aus­tere X-Pro2, most cer­tainly. Throw in the ever-ex­pand­ing XF lens sys­tem – with a grow­ing list of more ‘ex­otic’ mod­els – and the com­pany’s clear ded­i­ca­tion to even­tu­ally beat­ing all its mir­ror­less ri­vals, and it all adds up to the X-T20 be­ing an­other piece of Fu­ji­film X Mount bril­liance.

Viewfinder eye­piece in­cor­po­rates a prox­im­ity sen­sor for auto switch­ing be­tween the EVF and the mon­i­tor screen. Menus are well de­signed and log­i­cal to nav­i­gate. LCD mon­i­tor screen has ad­just­ment for tilt and in­tro­duces touch con­trols.

Drive mode dial has two po­si­tions for set­ting ‘Ad­vanced Fil­ter’ ef­fects and also auto brack­et­ing func­tions. Lever be­low the shut­ter speed switches the cam­era to fully auto op­er­a­tion via ei­ther sub­ject/scene modes or ‘Ad­vanced SR Auto’ con­trol. Ex­po­sure com­pen­sa­tion dial is marked up to +/-3.0 EV, but up to +/-5.0 EV is ac­cessed via the ‘C’ po­si­tion.

Top deck lay­out is a clas­sic mix of milled di­als and lever-type switches.

Live view screen can be ex­ten­sively cus­tomised as far as data dis­plays and com­po­nents such as a real-time his­togram are con­cerned. The dis­play shown here also in­cludes a sin­gle-axis level in­di­ca­tor.

Re­play thumb­nail screen in­cludes a bright­ness his­togram and a neat ar­range­ment of key cap­ture info.

‘AF-C Cus­tom’ menu pro­vides five sub­ject move­ment sce­nar­ios to en­able fine-tun­ing of the fo­cus track­ing.

‘Quick Menu’ screen can be cus­tomised and up to seven banks of func­tions can be cre­ated.

Avail­able in both black and sil­ver fin­ishes, the X-T20’s bodyshell com­prises mag­ne­sium al­loy cov­ers. Styling is very rem­i­nis­cent of the 35mm-era Fu­jica ST901.

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