Fujifilm X-E2 Review
The X-E2 is the mid-range model in Fujifilm's X system of mirrorless interchangeable lens cameras, sitting between the relatively affordable X-M1 and X-A1 twins, and the unashamedly high-end X-Pro1 and X-T1. It's an update of the X-E1, which we liked a lot for its combination of 'old school' handling and excellent image quality, giving it our Gold award in our review.
The X-E2 is superficially very similar to the X-E1, with the same basic body design and control layout; at a quick glance it's almost impossible to tell them apart. It keeps the same top-plate layout, including analogue shutter speed and exposure compensation dials, and has the same 2.36M dot OLED electronic viewfinder. The rear of the camera is still covered in buttons in much the same places as the X-E1, but their functions have been rearranged.
The headline updates are the sensor and processor: the X-E2 sports the same X-Trans CMOS II sensor as we first saw in the X100S, which includes on-chip phase detection elements for autofocus, and in concert with the EXR Processor II promises much improved autofocus speed. It also gains Fujifilm's rather basic but easy-to-use Wi-Fi system for sharing images. There's also a much nicer rear screen: a 3", 1.04M dot 3:2 aspect ratio unit, and a whole host of further tweaks and improvements. The net result is a camera that retains all the best bits of its predecessor, but has also been improved in many respects.
Fujifilm X-E2 key features
- 16MP X-Trans CMOS II sensor
- EXR Processor II
- ISO 200-6400, plus 100 - 25600 expanded (JPEG only)
- 7 fps continuous shooting; 3 fps with continuous AF
- Lens Modulation Optimizer (for sharper JPEGs when shooting at large or small apertures)
- 2.36M dot OLED electronic viewfinder
- Top-plate analogue shutter speed and exposure compensation dials
- 3" 1.04M dot 3:2 fixed LCD (non-tilting, not touch-sensitive)
- Built-in Wi-Fi for image transfer to smartphones or computers
- Full HD movie recording (1920x1080/60p, ~38Mbps bitrate), with built-in stereo microphone
- 2.5mm stereo microphone socket, also accepts electronic remote releases
- Available in silver or black
The X-E2 - not revolutionary, but distinctly evolved
Alongside the most obvious changes, the X-E2 adds a wide array of improvements and refinements compared to the X-E1, including a sensibly-revised control layout. The top-plate shutter speed and exposure compensation dials have been tweaked, with the latter now offering a range of +/-3 stops in 1/3 stop increments. Instead of a combined AE-L/AF-L button the X-E2 has separate controls for each, whose behavior can be user-defined. The rear plate controls have been rearranged, and four buttons are now user-customizable. There's also a number of small changes in response to user feedback, including the ability to specify a minimum shutter speed for Auto ISO, and live view exposure preview in manual exposure mode.
|The back of X-E2 is slightly rearranged compared to the X-E1 (right), with some of the the buttons serving different functions. It's dominated by the 3" 3:2 1.04M dot screen - a big improvement over the X-E1's 2.8" 4:3 420k dot LCD.|
The result may not be enough to tempt existing X-E1 owners to trade in their year-old cameras and upgrade, but that's not necessarily the point. In general, the days when photo enthusiasts could expect significant advances in speed and image quality with each year's new model are long gone. Instead the X-E2 is designed to keep the line up-to-date against the current competition, to draw new users into the system, and it does that pretty well. Impressively, Fujifilm has extended many of the firmware-based improvements to X-E1 customers - the company seems determined to be seen to support its existing customers.
Changes/improvements compared to X-E1
The list below summarizes changes relative to the X-E1 - some more significant than others (Fujifilm says there are more than 60 in total). Many of these reflect users' requests for operational changes and new features; some of them count more as bug fixes than anything else. But Fujifilm has to be given huge credit for listening and actively responding to such feedback.
- Exposure compensation dial offers expanded range of +/-3
- Shutter speed dial adds 1/180sec X-sync position, and increases separation of 'A' position
- Separate AE-L and AF-L buttons
- AF point selection moved to 4-way controller (reflects recent X-E1 firmware revisions)
- Old AF point selection button is now customizable Fn2 - sets white balance by default
- Four customizable buttons in total (Fn1, Fn2, AF, AE)
- Repositioned 'Q' button (less likely to be pressed accidentally)
- View mode button removed (now a menu setting)
- Low-speed (3 fps) continuous shooting mode, with focus tracking and live view between frames
- AF-C no longer limited to centre of frame - uses same 49 point array as AF-S
- Configurable Auto ISO (max and min ISO, minimum shutter speed)
- Exposure preview in Manual exposure mode (can be disabled in menu)
- Three manual focus aids (magnified view, peaking display, digital split-image)
- Face detection autofocus/autoexposure available (enabled as menu setting)
- JPEG-only bracketing modes hidden when shooting RAW
- 'Advanced Filter' creative shooting modes (JPEG-only)
- Multiple exposure mode moved to drive menu, grouped with panorama mode
- 14-bit Raw recording
- 1.8x faster file write times
- Improved EVF framerates in low light (60 fps vs 20 fps)
- Zoomed-in focus check view available in AF mode (by clicking rear dial)
- Conventional playback and file naming of images shot in continuous drive mode
- Images can be deleted when viewing them zoomed-in
- Exposure settings can be changed when AE-L is engaged
The world's fastest autofocus?
At launch, Fujifilm proudly claimed that the X-E2 offers the 'world's fastest autofocus' of 0.08 sec - an attention-grabbing statement designed to dispel the reputation the X system gained in its early days for slowish performance. The small print is revealing though - Fujifilm's tests used the XF 14mm F2.8R wideangle lens and the camera's 'High Performance' mode, which is disabled by default and has to be turned on in the menus. As tends to be the way with these things, you're not quite going to see that speed in day-to-day shooting.
The X-E2's tracking autofocus is substantially improved too - on paper at least. With the camera in its 3fps 'Continuous Low' speed and the focus switch set to AF-C, the camera can re-focus between frames, and show a live view display too. The focus point for AF-C is no longer limited to the centre of the frame, but can be moved around freely. Strangely though the live view feed doesn't show up during continuous shooting in other focus modes - the camera plays back your just-taken shots between frames instead.
Lens Modulation Optimizer
The X-E2 is Fujifilm's first interchangeable-lens camera to offer its 'Lens Modulation Optimizer', as previously seen on the X100S and X20. This uses Fujifilm's knowledge of each lens's characteristics to adjust the in-camera processing and sharpening, in an attempt to combat diffraction and lens aberrations. The idea is to give sharper out-of-camera JPEGs when shooting at large or small apertures. The concept isn't exactly new - Raw developers such as DxO Optics Pro and Canon Digital Photo Pro do much the same thing - but it's only just starting to find its way into in-camera JPEG processing engines.
The Lens Modulation Optimizer function is compatible with all of Fujifilm's X-mount lenses, although it appears the camera firmware will need updating when new lenses are launched to fully understand their characteristics. It can be turned on or off in the menu, so you don't have to use it all the time if you don't want to, and it can also be applied to individual images during in-camera Raw conversion.
Movie mode updates
The X-E2's movie mode still feels like something of an afterthought on what is primarily a stills camera (there's no record button, so it's accessed as a drive mode), but Fujifilm has added some extra capabilities. It's now possible to choose a Film Simulation mode, and adjust exposure compensation during recording. You also get a choice of framerates, but this is limited to 30fps or 60fps.
Fujifilm X-Trans CMOS II sensor
The X-E2 uses Fujifilm's X-Trans CMOS II sensor, which employs a novel color filter array to suppress color moiré. This in turn means it doesn't need an anti-aliasing filter, and can therefore (in principle) offer higher resolution compared to other cameras with the same 16MP pixel count but conventional Bayer-type sensors. You can read more about the technology behind this in our in-depth review of the X-Pro1.
When the X-Trans CMOS sensor it first appeared, third-party Raw support was patchy at best, with even the mainstream converters struggling to deliver sharp, artefact-free results. Since then, though, much has changed, and recently we've both seen a wider variety of choices, and a general improvement in results. Most recently, in a hugely welcome development, Adobe has started to add support for Fujifilm's Film Simulation modes.
The X-E2's sensor also includes phase detection pixels to assist autofocus, as previously seen on the X100S. There are 86,000 of these all told, arranged across 36% of the sensor's area in the centre of the frame.
Kit options and pricing
The X-E2 is available in a choice of silver and black finishes, either body only at a list price of $999 / £799.99 or bundled with the premium XF 18-55mm F2.8-4R LM OIS zoom for $1399 / £1199.99. These are the same as the X-E1 at launch.
The Insta360 One X is the company's latest consumer 360-degree camera, supporting 5.7K video, including excellent image stabilization, as well as 18MP photos. And, in our experience, it's a really fun camera to use.
The New York Times has opened up applications for its 7th annual portfolio review. Applications are due December 10, 2018, less than a month from now.
Picfair has announced Picfair Plus, a paid version of its service that adds custom domains, template options, and more to its Picfair Store platform.
ON1 Photo RAW 2019 brings an updated interface, more powerful Lightroom migration, better camera/lens support, and more to ON1's flagship editing program.
We've just started shooting with version two of Tamron's SP-series 15-30mm F2.8 – take a look at how we're getting along with it so far.
Gear Offer is an online marketplace for selling and buying used camera gear with fees lower than both Amazon and eBay.
Experiencing life through the lens of a camera might mean you miss out on special moments, warns Casey Cavanaugh as he shoots a short film through the viewfinder of his Hasselblad 500CM
The New York Times has teamed up with Google to start the process of digitizing more than five million photos stored in a vault nicknamed "the morgue."
Lastolite has announced HaloCompact, a new collapsible lighting tool with a patent-pending design.
Ambitious goals, new challenges and looking ahead to 100 years of the Z mount – we spoke with senior executives and engineers at Nikon about what lies ahead.
After years focused primarily on landscapes, Erez Marom leapt on an opportunity to return to his roots in wildlife photography. A trip to the mountains of Uganda photographing endangered mountain gorillas yielded some stunning photos – and an experience of a lifetime.
YouTube channel I Did A Thing has shared a satirical video showing off five camera tricks for getting the most from your camera on a budget.
Digital cameras have made it incredibly easy to do time-lapse photography, thanks to the ability to take hundreds—or even thousands—of photos without interruption. This week, Chris and Jordan walk us through the process of planning and shooting compelling time-lapse videos.
Mexico City architect and photographer Moises Levy uses composition and timing to create surreal beachside street photography.
Cinematographer Casey Cavanaugh shares how he created a DIY Hasselblad XPan camera with a Hasselblad 500CM and an anamorphic lens.
7Artisans has shown off a new 35mm F5.6 E-mount lens that's specifically designed for drone photography.
The Nikon Z6 is the lower-resolution, faster sibling to the Z7, and has already shown impressive results in our preliminary testing. Take a look at how it performs outside of the studio.
A new software update allows users of the Rylo camera to squeeze more resolution out of the camera's 360-degree footage.
Photopea is a free Photoshop alternative that works directly in the browser and offers advanced features including spot removal, clone tool, layers, filters, and masks.
Since publishing our full review, we've continued shooting with the Fujifilm X-T3 here and there – sometimes on assignment, and sometimes because we just like it so darn much. Our sample gallery has been updated with fresh images.
We've updated our camera buying guides, and the Fujifilm X-T3 was selected as a top choice in three different categories.
Benro has launched a new 3-axis gimbal that has a convertible handle that can be used in upright and carry configurations.
YouTube channel Analog Things takes a look at and tries out a 20x24 Wisner Polaroid camera located in Vienna.
Flickr has announced that it will not delete images from its Creative Commons or Flickr Commons collections and is working hand-in-hand with institutions and non-profits to "keep these photos safe and available for the world to view and enjoy."
Lomography has launched its Black & White 400 35mm Berlin Kino film, a new monochrome film cut from rolls of an old German cine film stock.
The Nikon Z6, paired with the new Nikkor Z 50mm F1.8S produces the sort of result you'd expect from a baby Z7. The lens is consistent across the frame and the sensor looks good but, like the Z7, the PDAF stripes aren't perfectly corrected so can occasionally become visible.
Tokina has listed an announcement on its website detailing an issue wherein the Canon Ef-mount version of the Opera 50mm F1/4 FF lens doesn't properly expose the image on Canon 1DX Mark II cameras.
NASA has shared the first 8K footage filmed from outer space. In addition to streaming on YouTube, you can also download the full-res footage to your computer.
Irix has opened up pre-orders for its 150mm F2.8 Macro 1:1 lens, which is expected to ship in December 2018.
Cinemartin has launched three new 8K global shutter video cameras with Raw shooting modes and custom code support.