FUJIFILM X-E3
Fuji has updated its mini-rangefinder-style model with its respected 24MP sensor, creating a little gem of a camera
Expert Angela Nicholson puts this mirrorless system camera through its paces in our in-depth review
As the last remaining Fujifilm mirrorless system camera to have a 16MP sensor, the X-E3 didn’t really come as a surprise when it was unveiled in September. However, Fujifilm hasn’t just put its 24.3MP X-Trans CMOS III APS-C sensor and X Processor Pro processing engine into the old X-E2S body, it’s given the camera design some thought and introduced a few changes that make the new offering an attractive option for a wide range of potential users.
Like the X-T2, X-Pro2, X-T20 and X100F that also have this sensor and processing engine combination, the X-E3 has an native sensitivity range of ISO 200-12,800, expandable to 51,200. It’s also possible to shoot at up to
11fps for 53 JPEGs or 21 uncompressed RAW files with continuous autofocusing.
Fuji has also updated the autofocus system to a 325-point hybrid system that allows points to be selected individually or in zones. Alternatively, the camera can select a point automatically. There are the same autofocus customisation options found on the X-T20 that enable you to tailor the camera’s response to the subject and shooting conditions.
So far this might seem fairly predictable and following the pattern set by previously updated X-series cameras, but the X-E3 is the first camera from Fuji to feature ‘alwayson’ Bluetooth connectivity that enables you to transfer images automatically to a smartphone. What might be more surprising, though, is that Fuji has completely done away with the navigation pad that normally features on the back of its X-series mirrorless system cameras. Instead, there’s a mini joystick similar to the one on the X-Pro2 and X-T2 and a touchscreen. What’s more, there’s a Touch Function feature, which means you can access key controls by swiping up, down, left or right, and you can customise which features you want to access via the menu.
As there are no clues on the screen, it takes a little while to get used to which way to swipe to access the feature you want, but overall the system works well and can be used whether you’re composing images on the screen or in the viewfinder.
It’s also possible to set the AF point via the screen when the camera is held to your eye, and you can specify whether you want to use the whole screen or just part of it for touch control – that’s especially useful for left-eye shooters who may find their nose takes
“The X-E3’s size and shape means it looks and feels better balanced with a small prime lens mounted”
control. In practice, however, it’s usually easier to set the AF point with your thumb on the mini-joystick controller.
The X-E3’s size and shape means it looks and feels better balanced with a small prime lens mounted, rather than a long telephoto zoom, but the front grip with its effectively textured surface and the rear thumb ridge provide a comfortable and secure hold. In addition, the camera’s metal body has a highquality and robust feel.
As the X-E3 has the same sensor and processing engine as the acclaimed X-T2 and X-Pro2, the image quality that it produces doesn’t really come as a surprise and on the whole the results look great.
Furthermore, the 256-zone metering system seems to take most things in its stride and the compensation dial is rarely called into use. Of course with the 0.39-inch, 2,360,000dot OLED electronic viewfinder and screen showing the impact of camera settings, it’s not often that you’ll be surprised by the need to use the compensation dial, as you’ll be forewarned of any over or underexposure.
Like Fuji’s other X-series mirrorless cameras, the X-E3’s autofocus (AF) system is nice and snappy, responding promptly even in low light and with low-contrast subjects. That’s useful for street photography, which is perhaps a more likely use of the camera than sport.
Fuji’s Film Simulation modes have proved very popular and some pros routinely use them to get their JPEGs looking as they want in-camera, saving them time by avoiding RAW file processing. It’s worth experimenting with the options to find the ones you like best, and trying the Highlight and Shadow Tone controls to get the look just right. Classic Chrome is a
firm favourite, but deepen the shadows a little with the Shadow Tone control and you get a more edgy look.
The auto white balance system can be relied upon in many conditions, but the Daylight setting has a slight edge in overcast conditions, delivering warmer, more attractive images. Again, this can all be assessed at the shooting stage in the viewfinder.
noise is controlled well throughout the X-E3’s native sensitivity range and even the top expansion settings don’t disgrace it. However, the best results are produced when the sensitivity is kept to ISO 3200 or lower. noise is handled very well in JPEGs, but RAW files have a little more detail, especially at the higher ISO settings.