FUJIFILM X-S10
To give it more mainstream appeal, Fujifilm has dumped the classic dials, but the X-S10 still has plenty of X-mount system goodness… and is easily the best-value model in the current line-up.
On paper, Fujifilm’s X-S10 looks like a curious mixture of higher-end functionality with a few lower-end design elements but, in practice, it all comes together very effectively… and affordably.
What’s going on here then? It’s a Fujifilm X-mount camera, Jim, but not as we know it. Initially, the X-S10 looks a bit like the answer to a question that’s nobody asked. Fujifilm says it essentially represents a new category of X-mount camera with a key objective, apparently, to make it more approachable for the users of Canon and Nikon APS-C format DSLRs – essentially all that’s left now – who are ready to go mirrorless. Of course, just about everybody is chasing this market – Canon and Nikon included – with an emphasis on selling them up to the bigger full-frame sensor. Nevertheless, the X-S10 is still a very curious mix of the high-end and the low-end.
In essence, it’s a lot of the X-T4 repackaged in an X-T30 size body with a new control layout that’s more conventional than Fujifilm’s usual traditional fare. So, gone are the classic dials for shutter speed, ISO and exposure compensation, replaced by a ‘PASM’ main mode dial and a smattering of function buttons. There’s still a couple of other dials – one serves as the rear input control and the other is multi-functional – but there’s nothing here to scare the horses. Dedicated X-mount camera users will no doubt consider this sacrilegious, but the reality is that the 1970s-style operation for exposure control isn’t to
everybody’s taste.
The styling is still fairly classic with a magnesium alloy main casing, but like the X-T30, no weather sealing. The rear screen adopts conventional tilt/swing articulation, and the compartment for the memory card is in the base with the battery, although both are in the handgrip and so are still accessible when the X-S10 is on a tripod. The battery is the NP-W126S pack that Fujifilm’s uses extensively across its current X-mount line-up (although not in the X-T4), and there’s just the single memory card slot for UHS-I speed SD devices.
You can maybe start to see the ‘swings and roundabouts’ approach to the X-S10’s packaging becoming evident. It’s even more apparent when you know that it has the X-T4’s autofocusing, upgraded video capabilities, a new and more compact in-body image stabilisation module, and pretty well the full suite of Fujifilm X-mount in-camera processing functions. But in addition to the single memory card slot, there’s the smaller and lower-res EVF from the X-T30 and the same basic monitor specs. These may be more of an issue for video shooters who will be seduced by the offer of Cinema 4K recording, a 10-bit 4:2:2 colour HDMI output, F-Log and more, but then have their enthusiasm dampened by some of these physical limitations, although the S10 is still streets ahead of the T30 here (see the Making Movie panels for more). The price differences may help to put things into perspective – the X-S10 is around $900 cheaper than the X-T4, but maybe only a couple of hundred dollars more expensive than the X-T30, depending on how heavily the latter is being discounted. Consequently, the high-value factor really helps smooth over a few of the
X-S10’s ‘wrinkles’.
KEEPING THE NOISE DOWN
This is even more the case when you look at how many of the X-T4’s goodies are in this camera, starting with the backside-illuminated (BSI) version of the 26.1MP X-Trans CMOS 4 sensor. The BSI architecture frees up some space on the front of the sensor which essentially benefits sensitivity, but this imager also uses a ‘dual gain’ design with two base ISOs – in this case, set at ISO 160 and 800.
The low ISO circuit optimises dynamic range and the high ISO circuit optimises sensitivity (i.e. the signal level), which results in some reduction of the dynamic range (at the highlights end), but reduced noise in the shadows. Perhaps more importantly though, the dual base ISOs mean that the noise characteristics at the higher sensitivity settings are essentially 2.5 stops better than would normally be the case. The native sensitivity range is equivalent to ISO 160-12,800, with extensions down to ISO 80 and 100, and up to ISO 25,600 and 51,200.
Continuous shooting is at up to 8fps when using the mechanical shutter – which is the same as the X-T30 – but switching to the electronic shutter allows for 20fps, and even 30fps if you’re happy with a 1.25x crop (giving 16.6MP resolution). The X-S10 also has the ‘Pre-Shot’ function that commences continuous capture as soon as the shutter release button is at the halfway position (i.e. for metering and autofocusing), so you’re even less likely to miss a shot. Pre-Shot can be set to 30, 20 or 10fps with capturing 10 frames prior to actual shutter release followed by 12, 22 or 68 frames respectively. The EVF can also be switched to ‘Sports Finder’ so you can see what’s happening outside the 1.25x crop’s frame – just like the optical finder in a rangefinder camera – to help anticipate how the action will unfold.
The in-body image stabilisation uses a new module that’s 30% more compact and lighter than the X-T4’s, but it works in a similar fashion by using electromagnetic fields to apply the shifts and provides five-axis movements in conjunction with the opticallystabilised Fujinon XF lenses. Depending on the lens focal lengths, there’s up to six stops of correction for camera shake, which is only marginally less than the X-T4’s 6.5 stops.
MORE WITH FOUR
The X-S10 inherits all the same capture settings as the X-T4, so 14-bit RGB RAW files can be compressed, losslessly compressed, or uncompressed. JPEGs are captured at either Fine or Normal compression levels in one of three image sizes, the maximum being 6240x4160 pixels. Additionally, there’s a choice of three aspect ratios at 3:2, 16:9 and 1:1. In-camera RAW-to-JPEG conversion is possible with a total
A MORE CONVENTIONAL CONTROL LAYOUT IS A DELIBERATE PLOY TO ATTRACT NEW USERS TO THE FUJIFILM X MOUNT SYSTEM, IN PARTICULAR ANYBODY READY TO MAKE THE SWITCH FROM A DSLR.
of 20 processing parameters.
Also carried over pretty much lock, stock and barrel from the X-T4 are the in-camera image processing functions, including the current complement of 18 Film Simulation profiles. These include Eterna Bleach Bypass, which was introduced on the X-T4, and is an alternative to the original Eterna (the name of Fujifilm’s cine film stock). The new variation gives more muted colour saturation while maintaining a higher contrast that replicates the look of the bleach bypass film processing technique. Compared to the X-T30, the X-S10 also has the Classic Neg profile that reproduces the ‘vintage’ tonality and colour saturation of a print made using Fujicolor Superia 100 colour negative film. It’s worth noting again that the Film Simulation profiles can be applied to RAW files in post-production. New is the availability of an auto Film Simulation function when shooting in the point-and-shoot ‘Auto’ and subject modes. It will select Velvia/Vivid, Provia/Standard or Astia/Soft settings, depending on the characteristics of the scene. Incidentally, RAW capture is now also available with these auto-only
shooting modes.
Additional processing – designed to be complimentary to the Film Simulation profiles – is available via Grain Effect, Colour Chrome Effect and Colour Chrome Effect Blue, each of which have the choice of Weak or Strong level settings. Grain Effect is obviously self-explanatory, while Colour Chrome Effect increases the range of tones within highlysaturated colours, particularly when shooting in high contrast situations. Not surprisingly,
Colour Chrome Effect Blue does the same thing, but only to the blue tone tones. Also provided are adjustment parameters for Highlight and Shadow Tone Curves, Colour (i.e. saturation), Sharpness and Clarity. This last parameter adjusts definition by increasing or decreasing the mid-tone contrast while leaving the highlights and shadows alone.
A Monochromatic Colour adjustment is provided for the two B&W profiles and this tints in either the warm-to-cool or magenta-to-green ranges (plus there are the usual contrast control filters in yellow, red and green that Fujifilm actually sets up as separate Film Simulation settings). There’s the usual choice of eight Advanced Filter special effects.
There are various options for dealing with dynamic range. Fujifilm’s standard expansion processing offers either auto correction or one of three manual settings (labelled 100%, 200% and 400%). There’s also a Dynamic Range Priority function designed to adjust the contrast to give increased detailing in both the highlights and shadows. There are three settings – Auto, Weak and Strong – with the latter two based on the dynamic range expansion setting, which means the minimum ISO is also raised
(to ISO 320 and 640 respectively) to give more ‘headroom’ for adjustments. The Auto setting selects either one or the other, depending on the contrast range presented by the prevailing lighting conditions. Another way to expand the dynamic range is to use the multi-shot HDR capture mode which records three frames with the options of auto exposure adjustment or one of four manual settings designated HDR200, HDR400, HDR800 and Plus. You can also bracket for dynamic range, as well as for exposure, Film Simulation profiles, focus, ISO and white balance. The Film Simulation bracket is quite handy as it allows for three versions of an image to be captured simultaneously, for example, Velvia, Acros and Classic Chrome. The focus bracketing can be set for up to 999 frames, with intervals of up to 10 seconds and the focus shift adjusted between one to 10 steps.
You also get an intervalometer, a multiple exposure facility, in-camera panoramas and flicker detection/correction. As per the last couple of X-T series cameras, the multiple exposure facility now allows for a total of nine frames to be combined – rather than just two, which was the case for a long time – with the choice of Additive, Average, Bright or Dark exposure management options. The intervalometer has a setting for unlimited frames or, alternatively, a specific count of up to 999.
As you can see, Fujifilm hasn’t skimped here and the X-S10 is definitely more X-T4 than X-T30 which, for example, doesn’t have multi-shot HDR capture or the full multiple exposure capability.
LIGHT AND COLOUR
As far as the camera control systems are concerned, the X-S10 is essentially ‘pure’ X-T4, starting with its hybrid phase/contrast detection autofocusing with the latest control algorithm for enhanced face/eye tracking. There’s a total of 425 measuring points – arranged in a 25x17 pattern – using 2.16 million pixels
“IN TERMS OF IMAGE QUALITY, THE GOOD NEWS IS THAT THE X-S10 STILL HAS ALL OF FUJIFILM’S COLOUR SCIENCE KNOW-HOW, SO THE OUT-OFCAMERA JPEGS
LOOK SUPERB.”
on the sensor, giving virtually full frame coverage both vertically and horizontally. Sensitivity can extend all the way down to EV -7.0 at
ISO 100 if you’re lucky enough to have Fujifilm’s super-fast f/1.0 50mm prime, but at f/2.8 the AF will still work at EV -4.0.
In the single-shot AF mode, the area modes extend from SinglePoint (selectable in six sizes), to Zone (in 7x7, 5x5 or 3x3 point clusters, selected from a grid of 117 points) and Wide. There’s also an ‘All’ setting that lets you to cycle through these three modes via the rear input wheel. With continuous AF operation, the area modes are Single-Point, Zone and Tracking with the option of Face/Eye Detection, plus Face Selection for situations where there are multiple faces. The upgraded eye-detection will stay locked-on even if the subject isn’t looking straight at the camera or turns away. Additionally, detection can be set to either the left or right eye.
To fine-tune the tracking to better match the type of subject movement, there’s the AF-C Custom menu with its five scenarios, each with three adjustable parameters for Tracking Sensitivity, Speed Tracking Sensitivity and Zone
Area Switching. The five scenarios are called Multi Purpose, Ignore Obstacles & Continue To Track Subject, For Accelerating/ Decelerating Subject, For Suddenly Appearing Subject and For Erratically Moving & Accel/Decel Subject. A sixth setting provides for a customised focus tracking scheme created using the three adjustable parameters.
The X-S10 also gets the AF Range Limiter function from the X-T4 (and X-Pro3) which provides three modes for presetting the focusing range primarily to enhance speed. There are two preset ranges – from 2.0 or 5.0 metres to infinity – plus a custom setting that can be configured as desired, for example, for the distance between two subjects.
A standard feature of Fujifilm’s X-mount cameras is the extended choice of assists for manual focusing. The usual image magnification and focus peaking displays are supplemented by a couple of additional devices called Digital Split Image and Digital Microprism. The first iteration of the Digital Split Image was more gimmick than a genuine aid, but over subsequent generations of X-mount cameras, it’s evolved into something that works pretty well. Both features hark back to the manual focusing aids in 35mm SLRs, so it’s good to see they’ve been retained in the X-S10 even if the classic control dials are gone. Anyone new to the system – which is this camera’s chief targets – will likely find them handy.
For exposure control, there’s the standard Fujifilm fare of on-sensor TTL metering with 256 measuring points and a choice of multi-zone, centre-weighted average, fully averaged or spot patterns. This drives the ‘PASM’ modes, and the S10 also has a set of 14 subject/scene modes accessed via the ‘SP’ on the main mode dial. Alternatively, auto scene selection is performed when the camera is the ‘Auto’ mode, and here there’s a selection of 12 modes selected on the basis of analysing data from the AF, AE and white balance systems.
The mechanical shutter has a speed range of 15 minutes to 1/4000 second, with flash sync up to 1/180 second and a bulb timer with a 60-minute limit. There are obviously variations from mode to mode, and switching to the camera’s sensor-based electronic shutter enables a top speed of 1/32,000 second, which is also available when using the hybrid electronic first curtain shutter. This makes the exposure with the sensor, but finishes it conventionally with the mechanical shutter’s second set of blades.
“AFTER LOOKING LIKE A BIT OF A MASH-UP AT THE START, THE X-S10 TURNS OUT TO BE A REAL WINNER.”
This arrangement isn’t totally silent, but still reduces both noise and vibrations compared to the mechanical shutter and, compared to the full sensor shutter, allows for the use of flash.
The X-S10’s white balance control options include the expanded choice of auto correction modes that were introduced with the X-T4. In addition to the standard auto mode, there are White Priority and Ambience Priority auto settings These are designed for shooting under incandescent (a.k.a. tungsten) lighting and either correct for, or preserve, the warmer tones. Alternatively, there’s a choice of seven presets (including one for underwater), and up to three custom measurements can be created and stored. As noted earlier, auto white balance bracketing is available along with fine-tuning and manual colour temperature setting over a range of 2,500 to 10,000 Kelvin.
IN THE HAND
Here is where the X-S10 is significantly different from all its X-T series cousins. As noted at the start of this review, it has a more conventional control layout that’s a deliberate ploy to attract new users to the Fujifilm X-mount system, in particular anybody ready to make the switch from a DSLR. Consequently, there’s also the biggest handgrip we’ve seen on an X-mount body so far, significantly enhancing the handling. The main mode dial is obviously something that just about everybody will be familiar with, and the rest of the control layout is straightforward with clearly marked function buttons for things like ISO setting and the AE lock.
The customisation options are probably a little less daunting than is the case with some mirrorless cameras, but nonetheless still extensive, covering seven physical controls and four Touch Function Gestures. The six multi-functional buttons can be assigned from a list of over 60 operations, while there’s 35 available for the function dial which can be useful for things like quick access to the Film Simulation profiles. The Touch Functions are assigned to the up, down, left and right swipes of the touchscreen. The Quick Menu control panel is also customisable. The number of function tiles can be set to four, eight, 12 or 16, and you can have up to four different panels via the C1 to C4 custom camera setups. The touchscreen implementation extends to the Quick Menu, autofocusing (with the option of auto shutter release), various replay functions, and a ‘touchpad’ function so you can still touch focus when using the EVF. The main menus still have to be conventionally navigated – although using the joystick greatly enhances efficiency – and their design is unchanged from the rest of the X-mount fleet. Besides, the straightforward right-click navigational routes from chapter to page to sub-menu or settings work logically enough.
As noted earlier, the X-S10 has the same EVF as the X-T30, a 1cm OLED panel with a resolution of 2.36 million dots and a magnification of 0.62x (35mm equivalent). This is now really a base-level spec, but it’s still acceptable even if most of the competition now offer higher-res displays. In the camera’s ‘Boost’ mode, the refresh rate is increased to 100fps which essentially eliminates lag when shooting continuously. Incidentally, the ‘Boost’ mode also increases the AF speed, but uses more battery power. Both the EVF and rear
LCD are adjustable for brightness, saturation and colour balance.
The live view display is also extensively customisable, so you can add guide grids (either 3x3 or 4x6), a real-time histogram, a level indicator and a highlight warning, plus whatever read-outs and indicators you select from four menu pages of items. Additionally, you can increase the size of selected icons and also adjust the display contrast to enhance legibility in different lighting conditions. The review/replay screen options include an overlaid set of histograms or two thumbnail displays accompanied by an extensive amount of capture data (including lens details), a highlight warning, a brightness histogram and the focus point or zone used, which is very useful. Pressing the joystick instantly zooms in on this point so you can quickly check the focus.
SPEED AND PERFORMANCE
Using a Sony 64GB SDXC UHS-I video speed 3 memory card and the mechanical shutter, the X-S10 captured a burst of 85 JPEG/large/ fine frames in 10.561 seconds, representing a continuous shooting speed of 8.05fps. With the electronic shutter, it recorded 70 frames in 3.604 seconds, giving a shooting speed of 19.42fps. The test file sizes were around 16.1MB on average.
We have, of course, already seen the latest-generation Fujifilm hybrid AF at work on the X-T4, and here it’s been tweaked further to primarily improve the performance and reliability in the full auto and scene modes. Overall, it’s fast and accurate with good tracking reliability even with subjects that are moving erratically. The low-light
sensitivity is still excellent with the more commonly-used XF lenses, which is the reality for anybody who doesn’t have the super-fast 50mm f/1.0. Face/eye detection works very well too, capably dealing with varying head angles or when the subject is fairly small in the frame.
In terms of image quality, the good news is that the X-S10 still has all of Fujifilm’s colour science know-how, so the out-of-camera JPEGs look superb, even before you start to play around with the Film Simulation profiles and the various other in-camera processing options such as Grain Effect. As we’ve noted on many occasions, Fujifilm’s balancing of colorimetric colour – or ‘real’ colour – with expected or ‘memorised’ colour, makes its Film Simulation profiles superior to anything else.
Not surprisingly, the X-S10’s high-ISO performance is on a par with the X-T4’s. The sensor’s ‘dual gain’ circuitry – with a second, higher base ISO being at 800 – means increased sensitivity at the even higher settings, and with lower noise. Subsequently, less noise reduction processing is required, so the image quality – in terms of definition and colour saturation – holds together well all the way up to ISO 12,800.
Even above this, the X-S10 still balances sharpness and noise reduction very well. Theoretically, the image quality at ISO 12,000 is pretty much the same as it is at ISO 800 (the upper limit of the low ISO circuit), albeit with a small reduction in dynamic range. The RAWs are also exceptionally flexible, giving lots of latitude with exposure so images can be brightened by two or three stops without unduly increasing noise, particularly in the shadows.
In all, it’s a commanding performance.
THE VERDICT
So what have we got here? After looking like a bit of a mash-up at the start, the X-S10 turns out to be a real winner. In terms of camera systems, it’s really just the X-T4 in a more fashionable frock – same sensor, same processor, same AF and largely the same feature set. It’s massively more affordable though, and the cost-cutting is mostly accounted for by the low-res EVF, single card slot and slower continuous shooting with the mechanical shutter… all of which many users will be able to happily live with. It’s nowhere near as involving – or as much of an experience – as the more classical X-T bodies, but this isn’t going to matter to newcomers to the X-mount system. And, in many ways, the more conventional layout gets you to where you want to be much more easily. And you still get the same brilliant results as the X-mount flagship. In fact, Fujifilm may just have been a bit too generous with the X-S10 – it’s almost unbeatable on value, so grab one before they change their minds.