On Trial Fu­ji­film X-t100

There’s a new en­try-level X-T series Fu­ji­film mirrorless cam­era which is based on the X-A5 so it’s quite a bit cheaper than the X-T20, but is any­thing that’s im­por­tant miss­ing?

Camera - - CONTENTS -

Fu­ji­film’s new en­try-level X mount mirrorless cam­era is sig­nif­i­cantly cheaper than the X-T20, but is it sig­nif­i­cantly less of a cam­era? What it lacks in a few fea­tures and spec­i­fi­ca­tions, it more than makes up for in terms of its value propo­si­tion.

Fu­ji­film’s X mount sys­tem has been one of the suc­cess sto­ries in mirrorless cam­eras and, so far, not se­ri­ously chal­lenged in the ‘APS-C’ for­mat sen­sor cat­e­gory. The top-end of the X mount line pro­vides plenty of choice, so now Fu­ji­film is start­ing to plug the gaps lower down the range, par­tic­u­larly as the non-EVF ‘X-A’ mod­els are never likely to ap­peal to the more se­ri­ous shooter, but the X-T20 could be be­yond some bud­gets.

In a nut­shell, the X-T100 – now the new en­try-level ‘X-T’ model – is es­sen­tially a ver­sion of the X-A5 with the all-im­por­tant viewfinder added along with a se­lec­tion of X-T20 fea­tures, but it’s around $700 cheaper (al­though the XC series kit lens – rather than an XF model – ac­counts for some of this dif­fer­ence). The T20 is a pretty thing, but the X-T100 isn’t quite so co­he­sive in its styling with the EVF hous­ing, in par­tic­u­lar, look­ing less well in­te­grated with the whole and, for some rea­son, Fu­ji­film has opted to make the hand­grip de­tach­able. There re­ally doesn’t seem to be any good rea­son for tak­ing it off though, ex­cept that the X-T100 is ac­tu­ally slightly big­ger over­all than the X-T20. The EVF mod­ule looks to be pretty much the same as the T20’s both on the out­side and the in­side where there’s a 1.0 cm OLED-type EVF with 2.36 megadots res­o­lu­tion, 100% ver­ti­cal/hor­i­zon­tal scene cov­er­age and 0.62x mag­ni­fi­ca­tion (the 35mm equiv­a­lent). You’ll read ex­actly the same thing in the X-T20’s specs.

How­ever, while the X-T100’s ex­ter­nal con­trol lay­out is still based around a trio of di­als, it’s a very dif­fer­ent ar­range­ment to that of the X-T20. Firstly, there’s a main mode dial – which, in­ci­den­tally, also has po­si­tions for four sub­ject/ scene modes along­side the stan­dard ‘PASM’ set­tings – but the dial along­side serves as the front in­put wheel while the third con­trol is user-as­sign­a­ble mul­ti­func­tional. So, if you’re a bit of tra­di­tion­al­ist, and like the idea of hav­ing a shut­ter speed dial and an ex­po­sure com­pen­sa­tion dial, then the X-T20 is still for you. That said, the X-T100 is still rea­son­ably tra­di­tional – at least by dig­i­tal cam­era stan­dards – with all ex­po­sure ad­just­ments via the front and rear in­put wheels (which Fu­ji­film calls ‘Com­mand Di­als’, and the for­mer used to ap­ply com­pen­sa­tion ex­cept in the man­ual mode when it ad­justs shut­ter speeds.

The rest of the con­trol lay­out is pretty con­ven­tional too, with a four-way key­pad clus­ter on the back panel for nav­i­ga­tional du­ties – and also di­rect ac­cess to var­i­ous cap­ture func­tions – and an ‘OK’ or ‘En­ter’ but­ton in the cen­tre. Hard to get lost here.

The EVF is com­ple­mented by a tilt-ad­justable LCD mon­i­tor screen which has var­i­ous touch con­trols for both shoot­ing and play­back (more about these later on). The mon­i­tor has a three-way tilt ad­just­ment, but un­like on the X-T2 (or GFX 50S), the ver­ti­cal ad­just­ment isn’t pri­mar­ily de­signed for ver­ti­cal shoot­ing, but rather to al­low the panel to be folded all the way around to the front of the cam­era to en­able… er, self­ies. So be it, but if you do want to do low-level shoot­ing with the cam­era in the ver­ti­cal ori­en­ta­tion, the mon­i­tor’s ver­ti­cal up­ward tilt works just fine here too.

While the top and bot­tom plates are an­odised alu­minium, the rest of the bodyshell is GRP and there’s no weather seal­ing, but then the X-T20 doesn’t have this pro­tec­tion either. There’s a choice of three body colours, with the al­ter­na­tives to ba­sic black called ‘Dark Sil­ver’ and ‘Cham­pagne Gold’ (which is ac­tu­ally a lot nicer look­ing than it sounds... think the Con­tax S2 or G1, for ex­am­ple).

Burst Of speed

On the in­side, the X-T100 has same 24.2 megapix­els (ef­fec­tive) ‘APS-C’ size CMOS sen­sor as the X-A5 which has a con­ven­tional Bayer-type RGBG fil­ter pat­tern rather than the ‘X-Trans’ de­sign used in the rest of the X-T series clan. This means it also uses a con­ven­tional op­ti­cal low-pass fil­ter. The sen­si­tiv­ity range is equiv­a­lent to ISO 200-12,800 with ex­ten­sions to ISO 100, 25,600 and 51,200.

Im­ages can be cap­tured as 14-bit RAW files (but only with loss­less com­pres­sion) or as JPEGs in one of three sizes and two com­pres­sion lev­els, and with a choice of three as­pect ra­tios – 3:2, 16:9 and 1:1. There’s RAW+JPEG cap­ture op­tions, both with a full-size JPEG and either the ‘Fine’ or ‘Nor­mal’ com­pres­sion level. The max­i­mum con­tin­u­ous shoot­ing speed is 6.0 fps which is sig­nif­i­cantly slower than the X-T20’s best of 14 fps and the burst lengths are also shorter – up to 26 bestqual­ity JPEGs (ver­sus 65 when the T20 is run­ning at 8.0 fps).

While the X-T100 has the op­tion of us­ing a sen­sor-based shut­ter in­stead of the con­ven­tional fo­cal plane one, this doesn’t trans­late into any shoot­ing speed ad­van­tages.

How­ever, the X-T100 has the X-A5’s 4K video-based stills cap­ture modes called ‘4K Burst’ and ‘4K Multi Fo­cus’. These both cap­ture at 15 fps – as the X-T100 only shoots 4K video at 15 fps – and give 8.3 megapix­els stills. Pana­sonic has al­ready proven the use­ful­ness of 4K video frame grab­bing for high­speed shoot­ing and, as we’ve noted be­fore, an 8.3 megapix­els im­age is big enough for quite a num­ber of ap­pli­ca­tions. The T100’s ‘4K Burst’ mode does ex­actly what it says on the tin, while the ‘4K Multi Fo­cus’ cap­tures a high-speed se­quence of im­ages at dif­fer­ent fo­cus points (i.e. fo­cus stack­ing). Sub­se­quently, you can se­lect a sin­gle im­age or, al­ter­na­tively, a com­pos­ite im­age made from the full se­quence or only the im­ages within a cer­tain fo­cus­ing range.

As with Pana­sonic’s ‘4K Photo’ func­tions, the ‘4K Burst’ mode can be pre­con­fig­ured to pre-record (i.e. start­ing when the shut­ter but­ton is de­pressed to its half-way po­si­tion), cap­ture con­tin­u­ously for as long as the shut­ter but­ton is held-down, or com­mence cap­ture with one press of the shut­ter but­ton and end it with a sec­ond. How­ever, un­like on the Pana­sonic cam­eras, this set-up is done via the main Shoot­ing Menu and a set­ting la­belled ‘Re­lease Type’ (i.e. rather than separate 4K cap­ture mode set­tings).

tak­ing ef­fect

The in-cam­era JPEG pro­cess­ing op­tions are pretty well the stan­dard X mount sys­tem fare, start­ing with 11 ‘Film Sim­u­la­tion’ pro­files. The ACROS B&W and Eterna cine set­tings are miss­ing here, but all the other favourites are avail­able, in­clud­ing as Provia/Stan­dard, As­tia/Soft, Velvia/Vivid and Clas­sic Chrome. A very nifty new fea­ture au­to­mat­i­cally cou­ples ‘Film Sim­u­la­tion’ se­lec­tion to live view with one screen show­ing the se­lected profile and an ar­ray of smaller ones be­low show­ing a num­ber of the other op­tions. This al­lows you to pre­view the ef­fect and also make di­rect com­par­i­sions be­tween, say, all the trans­paren­cy­film based pro­files.


Pa­ram­e­ter ad­just­ments are pro­vided for colour sat­u­ra­tion, sharp­ness, high­light tone and shadow tone. These are ‘global’ ad­just­ments and, when set, will ap­ply to all the ‘Film Sim­u­la­tion’ pro­files. Auto brack­et­ing is avail­able for the ‘Film Sim­u­la­tion’ pro­files so three ver­sions of an im­age can be cap­tured si­mul­ta­ne­ously… par­tic­u­larly handy if you want colour and B&W. Brack­et­ing modes are also pro­vided for ex­po­sure, white bal­ance, ISO and dy­namic range ex­pan­sion. Each of these is over a se­quence of three frames ex­cept for AE brack­et­ing which can also be set to two, five or seven frames (with ad­just­ment of up to +/-3.0 EV). 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 ad­justs both the ex­po­sure and the tone curve ac­cord­ingly. Al­ter­na­tively, multi-shot HDR cap­ture is also avail­able with either auto or man­ual ad­just­ment (again up to +/-3.0 EV) to give the de­sired in­crease in dy­namic range. The X-T100 has in-cam­era panorama stitch­ing – either hor­i­zon­tal or ver­ti­cal – a dou­ble­ex­po­sure fa­cil­ity, an in­ter­val­ome­ter (for se­quences of up to 999 frames) and a set of 12 ‘Ad­vanced Fil­ter’ spe­cial ef­fects with the same handy live view pre­view screen as is pro­vided with the ‘Film Sim­u­la­tion’ pro­files. The two new­com­ers – to X-T series cam­eras, that is – are ‘HDR Art’ and ‘Fog Re­move’ which should prob­a­bly be more ac­cu­rately re­named ‘Haze Re­move’ and works like a built-in UV fil­ter (so it won’t ac­tu­ally re­move fog!). ‘HDR Art’ cre­ates the ex­ag­ger­ated HDR edge ef­fect that’s now all a bit old hat.

Get the Point

The X-T100 has the 91-points ver­sion of Fu­ji­film’s hy­brid con­trast/ phase-dif­fer­ence de­tec­tion aut­o­fo­cus­ing sys­tem with the cen­tral 35 points be­ing the faster PD types (and rep­re­sent­ing roughly 40 per­cent frame cov­er­age). Over­all cov­er­age is much wider and ex­tends a good way to the frame edges all around. There’s a choice of sin­gle-point, zone or wide/track­ing area modes.

With sin­gle-point se­lec­tion there’s a choice of five point sizes to vary selectivity and the zone fo­cus can be set to 7x7, 5x5 or 3x3 points clus­ter. There are also face­and eye-de­tec­tion ca­pa­bil­i­ties, with the lat­ter set­table to either the left or right eye pri­or­ity. Switch­ing the AF op­er­a­tions (i.e. sin­gle-shot and con­tin­u­ous) is done man­u­ally and via the menu sys­tem rather than an ex­ter­nal switch. Like­wise for switch­ing to man­ual fo­cus­ing.

Both the AF-S and AF-C modes can be set to either re­lease- or fo­cus-pri­or­ity.

Like the X-T20, the X-T100 of­fers in­ter­lock­ing of the AF point and the spot me­ter­ing, an AF+MF func­tion for full-time man­ual over­ride, and a ‘Pre AF’ mode in which the cam­era is aut­o­fo­cus­ing con­tin­u­ously even with­out the shut­ter be­ing de­pressed to its half-way po­si­tion. An LED il­lu­mi­na­tor is pro­vided for low-light/con­trast AF as­sist. The as­sists for man­ual fo­cus­ing com­prise a mag­ni­fied im­age (also avail­able with AF op­er­a­tion too), a dis­tance scale and a fo­cus peak­ing dis­play which can be set to one of three colours and two lev­els of in­ten­sity. While some of the X-T aut­o­fo­cus­ing frills are miss­ing here – such as fine-tun­ing for the track­ing – this is still a pretty ca­pa­ble sys­tem over­all.

Ex­po­sure con­trol is based on 256-seg­ment me­ter­ing which drives multi-zone, cen­tre-weighted av­er­age, fully av­er­aged or spot mea­sure­ments. As noted ear­lier, the X-T100 has both a sen­sor shut­ter and a con­ven­tional FP shut­ter with the third op­tion of hy­brid ‘‘elec­tronic first cur­tain shut­ter” op­er­a­tion which starts the ex­po­sure with the for­mer and ends it with the lat­ter. The pri­mary ben­e­fits of the sen­sor shut­ter here are re­duced noise and vi­bra­tion, but it also al­lows for a top speed of 1/32,000 sec­ond com­pared to the FP shut­ter’s 1/4000 sec­ond. In ad­di­tion to the four sub­ject pro­grams di­rectly ac­ces­si­ble from the main mode dial, an­other ten are avail­able via its ‘SP’ (short for ‘Scene Po­si­tion’) mode. Al­ter­na­tively, au­to­matic scene mode se­lec­tion is per­formed when the mode dial is set to the ‘SR+’ po­si­tion, with the X-T100 able to de­ter­mine, via anal­y­sis of the fo­cus­ing and me­ter­ing, six sub­ject sce­nar­ios – Por­trait, Land­scape, Night, Macro, Night Por­trait or Back­lit Por­trait.

As on the T20, a built-in pop-up flash is in­te­grated into the cen­tral hous­ing and is man­u­ally ac­ti­vated via a lever lo­cated at the base of the left-hand dial (as viewed from be­hind the cam­era). Again, it’s pretty low-pow­ered with a met­ric guide num­ber of seven at ISO 200 and just five at ISO 100. The TTL con­trol modes in­clude 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. There’s no man­ual non-TTL mode for re­duc­ing the out­put, but flash brack­et­ing is avail­able over a range of +/-2.0 EV which, at this power level, will do the job just as well.

The white bal­ance con­trol op­tions com­prise auto cor­rec­tion, seven pre­sets (in­clud­ing for un­der­wa­ter), fine-tun­ing, pro­vi­sion for mak­ing one cus­tom set­ting, man­ual colour tem­per­a­ture con­trol over a range of 2500 to 10,000 de­grees Kelvin and, as noted ear­lier, auto brack­et­ing.

In The hand

In both looks and han­dling, the X-T100 def­i­nitely grows on you over time es­pe­cially, if you haven’t got the pret­tier-sib­ling X-T20 al­ways on hand for di­rect com­par­isons. It feels no less wellbuilt than the X-T20 and equally com­fort­able to han­dle.

There is only one cus­tomis­able ‘Fn’ but­ton – it’s on the top plate – but the X-T100 also has the func­tion dial (a.k.a. ‘Fn-D’) we men­tioned at the start of this re­view.

The ‘Fn’ but­ton can be as­signed one of 30 op­er­a­tions while 18 are avail­able for the func­tion dial. How­ever, the down­side with the lat­ter is that the func­tion dial then loses all its de­fault set­tings which are dif­fer­ent de­pend­ing on the main mode dial’s po­si­tion.

On the ‘PASM’ set­tings, the pre-as­signed func­tion is ‘Film Sim­u­la­tion’ profile se­lec­tion or, at the ‘Ad­vanced Fil­ter’, ‘SP’ or ‘SR+’ set­tings, the func­tion dial serves as a se­lec­tor for these var­i­ous func­tions. Switch to an­other func­tion and it’s the same ir­re­spec­tive of the main dial’s set­ting. Cu­ri­ous. On the plus side, there’s a set of four ‘Touch Func­tions’ – as in­tro­duced on the X-E3 – which en­able cus­tom func­tions to be as­signed to the left, right, up and down swipe ac­tions on the touch­screen, again each se­lectable from a list of 30 items. This fa­cil­ity is also pro­vided on the flag­ship X-H1 and it works quite ef­fec­tively in prac­tice.

Other­wise, the touch­screen con­trols aren’t fully im­ple­mented, but are avail­able for fo­cus point se­lec­tion with aut­o­fo­cus­ing, either with or with­out au­to­matic shut­ter re­lease. You can also move fo­cus­ing points or zones around, or zoom in and out us­ing the dig­i­tal zoom func­tion. Im­por­tantly, touch­screen fo­cus­ing and shut­ter re­lease are avail­able when us­ing the EVF and you can also con­fig­ure the area of mon­i­tor screen to be used (either left or right halves or one of the four quar­ters) to make this op­er­a­tion more ef­fi­cient.

Ad­di­tion­ally, de­pend­ing on the se­lected shoot­ing mode, there is an on-screen tab for the ‘Film Sim­u­la­tion’ pro­files, scene/ sub­ject pro­grams, ‘Ad­vanced Fil­ter’ set­tings and the ‘Por­trait En­hancer’ lev­els. A sec­ond tab is pro­vided for set­ting the fo­cus­ing mode (i.e. AF-C, AF-S or man­ual).


In play­back, touch con­trols are avail­able for brows­ing and zoom­ing (in­clud­ing zoom­ing in on the fo­cus­ing point/zone which is al­ways an in­ter­est­ing ex­er­cise), but not for zoom­ing out all the way to the thumb­nail pages or, sub­se­quently, for thumb­nail se­lec­tion.

There’s no touch­screen func­tion­al­ity for the menus or the ‘Quick Menu’ screen which pro­vides di­rect ac­cess to a to­tal of 16 cap­ture-re­lated func­tions, but has to be nav­i­gated con­ven­tion­ally. How­ever, the ‘Quick Menu’ can be cus­tomised with 27 func­tions avail­able for as­sign­ment to each of the dis­play’s 16 tiles.

Both the EVF and mon­i­tor screen are ad­justable for bright­ness and colour and, of course, also cus­tomis­able. 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 long list 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 points and zones, a real-time his­togram, ex­po­sure set­tings and a to­tal of 14 cap­ture set­tings.

There are five im­age re­play/ re­view screens which in­clude a full frame im­age with cap­ture data or a thumb­nails ac­com­pa­nied by a bright­ness his­togram, two pages of cap­ture data and the fo­cus point em­ployed. And, very con­ve­niently, press­ing in the rear com­mand dial in­stantly zooms in on this point for check­ing the fo­cus (or, as just noted, you can also do this via the touch­screen).

The in-cam­era edit­ing func­tions in­clude RAW-to-JPEG con­ver­sion (with 11 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. The X-T100 is the first X mount cam­era to ad­di­tion­ally have Blue­tooth con­nec­tiv­ity which pro­vides the con­ve­nience of a con­stant low-pow­ered con­nec­tion with other mo­bile de­vices, and au­to­matic geo-tag­ging.

Fu­ji­film’s Cam­era Re­mote app al­lows for both im­age file trans­fer and full re­mote con­trol of the cam­era via a smart­phone or tablet.


With our ref­er­ence mem­ory card – Lexar’s 128 GB SDXC UHS-II/ U3 (Speed Class 3) Pro­fes­sional – loaded, the X-T100 cap­tured a burst of 74 JPEG/large/fine files in 12.392 sec­onds, giv­ing a shoot­ing speed of 5.97 fps which is ob­vi­ously as close to the quoted 6.0 fps as makes lit­tle dif­fer­ence. How­ever, as we’ve noted with Fu­ji­film X mount cam­eras in the past, the quoted burst lengths are quite con­ser­va­tive. Dur­ing our tests, the X-T100 reg­u­larly cap­tured burst lengths of best-qual­ity JPEGs in the re­gion of around 70 frames (of course, the cam­era will go on shoot­ing any­way, but then at a much slower frame rate). The test files in the time trial av­er­aged 10.9 MB.

While the aut­o­fo­cus­ing isn’t as so­phis­ti­cated at that of the high­erend X-T cam­eras, it’s still pretty quick and has plenty of scope for pre­cisely match­ing the selectivity to the sub­ject or scene. The track­ing is less re­li­able over­all es­pe­cially with faster mov­ing sub­jects, but still ac­cept­ably good in other sit­u­a­tions. The cam­era takes a lit­tle time to get ev­ery­thing to­gether af­ter start-up, but this ap­pears to be largely down to the XC kit lens which is a power zoom and au­to­mat­i­cally re­turns to the fo­cal length in use at switch-off (ar­guably much more con­ve­nient than a few nanosec­onds saved). And don’t think that not hav­ing an ‘X-Trans’ sen­sor holds the X-T100 back when it comes to its imag­ing per­for­mance. The 24 MP Bayer­fil­tered de­vice is a bit of a rev­e­la­tion, de­liv­er­ing ex­cel­lent JPEG sharp­ness and def­i­ni­tion, smooth tonal gra­da­tions, ac­cu­rate colour fidelity across the spec­trum and plenty of dy­namic range with­out re­sort­ing to any in-cam­era tweak­ing. Once again, Fu­ji­film’s ‘Film Sim­u­la­tion’ pro­files do an nice job of bal­anc­ing ‘real’ and ‘per­ceived’ colour to give very pleas­ing re­sults ir­re­spec­tive of sat­u­ra­tion (al­though Velvia is un­doubt­edly still the pick of the lit­ter if you like that trans­parency-film punch­i­ness).

The noise re­duc­tion pro­cess­ing is also very well han­dled, en­sur­ing that the high ISO per­for­mance is ex­cep­tional.

Both the colour sat­u­ra­tion, sharp­ness and con­trast are main­tained across the full na­tive ISO range with min­i­mal chroma (colour noise) and very low lu­mi­nance (bright­ness) noise. Even at ISO 12,800 it’s hard to fault the im­age qual­ity. Some soft­en­ing and NR arte­facts start to be­come no­tice­able at the two ex­ten­sion set­tings, but both are still quite use­able. RAW files have a wider dy­namic range again, and post­cam­era sharp­en­ing pre­serves even more fine de­tail­ing at the high­est ISOs up to 12,800 (the ex­ten­sions aren’t avail­able for RAW cap­ture), but over­all the JPEG per­for­mance is a strong one across a wide us­able sen­si­tiv­ity range.


There’s a lot to like about the X-T100, not the least be­ing that it’s the most af­ford­able Fu­ji­film X-T series mirrorless cam­era by a con­sid­er­able mar­gin. Con­se­quently, it does lack a num­ber of fea­tures and is throt­tled back in some per­for­mance ar­eas, but in re­al­ity there’s noth­ing miss­ing that com­pro­mises either its over­all ca­pa­bil­i­ties or the im­age qual­ity.

In fact, com­pared to its di­rect ri­vals, either mirrorless or D-SLR, the X-T100 is gen­er­ally a more well-rounded pack­age. Con­se­quently, the value propo­si­tion is very hard to ig­nore.

While its ba­sic DNA is from the more con­sumer-fo­cused X-A5, let’s not for­get that this is still a very ca­pa­ble cam­era for an en­try-level model and the X-T100 sim­ply builds on this with the ad­di­tion of EVF and boosted specs in a cou­ple of key ar­eas. The high ISO per­for­mance is par­tic­u­larly praise­wor­thy.

Con­se­quently, there’s enough here to make it more than suit­able as an af­ford­able back-up body if you al­ready have a X-T20 or even an X-T2, which also means there’s enough here to give the en­thu­si­ast-level shooter a more af­ford­able en­try-point to the Fu­ji­film X mount sys­tem.

LCD mon­i­tor screen has a three-way tilt­ing mech­a­nism so it can be swung through a full 180-de­grees to the left, pri­mar­ily to fa­cil­i­tate self­ies. But this ad­just­ment is also handy for low-level shoot­ing when the cam­era is ver­ti­cally ori­en­tated. Menu sys­tem is log­i­cally or­gan­ised and easy to nav­i­gate with con­tin­u­ous scrolling within each colour-coded sec­tion. There’s no cus­tomis­able ‘My Menu’ though. Viewfinder is the same OLED-type EVF as is fit­ted to the X-T20. An eye­piece prox­im­ity sen­sor is pro­vided for auto switch­ing be­tween the ’finder and mon­i­tor. Top panel is an an­odised alu­minium cover while the rest of the con­struc­tion is GRP. No weather seals. Rear con­trol panel is con­ven­tion­ally ar­ranged. Thumb­wheel at top serves as the rear in­put dial.

Also new is a ‘Func­tion Dial’ which can be user-as­signed from one of 18 op­er­a­tions. It also has a se­lec­tion of dif­fer­ent de­fault func­tions de­pend­ing on the se­lected shoot­ing mode. Fu­ji­film has adopted a con­ven­tional ‘PASM’ main mode dial for the X-T100 which is a first for an X-T series body. Top-panel con­trol lay­out is dial based, but in a very dif­fer­ent con­fig­u­ra­tion to that of the X-T20. Kit lens is a com­pact power zoom. The third large dial on the top panel serves as the front in­put wheel.

Live view pre­view is au­to­mat­i­cally en­gaged to as­sist with the se­lec­tion of the ‘Film Sim­u­la­tion’ pre­sets and ‘Cre­ative Fil­ter’ spe­cial ef­fects. Very handy.

Com­pre­hen­sive info dis­play in the mon­i­tor screen pro­vides a host of read-outs as well as real-time his­togram and fo­cus point/zone set­tings.

Live view screen has con­sid­er­able scope for cus­tomi­sa­tion, in­clud­ing all the read-outs, guide grids, level dis­play, fo­cus­ing scale and real-time his­togram.

Im­age re­view screen in­cludes cap­ture data, bright­ness his­togram and a thumb­nail which shows the aut­o­fo­cus point(s) used.

Fo­cus set­tings cover two menu pages, but the sys­tem isn’t as ad­vanced as those of the higher-end X mount cam­eras.

Noise re­duc­tion pro­cess­ing is very well han­dled, en­sur­ing that both the sat­u­ra­tion and sharp­ness re­main ex­cel­lent right across the na­tive ISO range and still more than ac­cept­able at the ex­pan­sion set­tings of ISO 25,600 and 51,200. ISO 100 is also an ex­pan­sion set­ting.

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