Fuji’s XF 18-55mm F2.8-4 R LM OIS lens has been the standard bearer for a premium kit lens since its release in 2013. I’ve heard many, many Fuji shooters brag that the quality of this lens makes other lenses unnecessary. I was a little surprised by being a bit underwhelmed by the lens when I finally reviewed it in 2019. The resolution of Fuji X-mount cameras in 2013 was 16MP, and in 2016 that jumped to 24MP on some models. In 2018 the first 26MP camera (X-T3) was released, and I reviewed it at that resolution level, which is vastly more demanding on lens performance than 16MP. That may explain why I didn’t find the lens as sharp as many people claimed. But in late 2022, Fuji took their biggest jump to what remains at this time the highest resolution of any APS-C sensor – the 40MP X-Trans sensor found in camera like my X-H2. This sensor has been somewhat of a wrecking ball to older lenses, and I’ve been revisiting some of them to see how they they are holding up (and compare to newer models). I recently revisited the venerable XF 18-55mm to see how it held up. The results are very much a mixed bag. Find out the full details in my video review below.
Thanks to Fujifilm Canada for sending me a review copy of this lens. As always, this is a completely independent review. All opinions and conclusions are my own. I’m doing this review on a 40MP Fujifilm X-H2 camera.
The XF 18-55mm is still capable of producing beautiful photos, but they don’t hold up under the level of scrutiny that 40MP affords.
My main findings are in the video review, but if you are more of a text person, I’ll share my review notes along with a more detailed conclusion at the end.
Build and Handling
The Fujinon XF 18-55mm F2.8-4 was always priced higher than most kit lenses due to have a more premium build and performance. Here’s how it fits into the 2024 landscape of pricing for standard zoom lenses on X-mount.
Sigma = $549
Fuji 18-55 = $699* (as little as $400 in kit)
Tamron 17-70mm F2.8 VC ($799)
Fuji 16-55mm = $1199
Few people are paying full retail MSRP for this lens, as most will either get it in a kit (for a whopping $300 discount!) or on the used market where it is often available for $300 or less, which obviously helps its value in relation to the other lenses on the list.
Here’s a breakdown of what the R | LM | OIS mean in the lens’ name:
R = Ring | LM = Linear Motor | OIS = Optical Image Stabilization
Here are some my build observations.
Shortest lens (6mm shorter than Sigma, 36mm shorter than 16-55)
65 x 70.4mm (D x L) | (2.56 x 2.77”) | 310g (11 oz)
Has variable aperture (aperture closes fast!)
F3.2 by 20mm
F3.6 by 30mm
F4 by 42mm
Has OIS.
Has aperture ring, but due to being variable aperture, there are no markings or hard stops
No weather sealing
Poorest manual focus ring (easy to accidentally grab because it is close to zoom lens, manual focus moves in very obvious steps rather than smoothly.
Lowest magnification of four options – 0.15x @ 30cm
Holds up well – finish and rings hold up over long haul.
Fuji’s design language has changed little over the years, so the lens doesn’t really look or feel dated. It feels as premium as most of their other nicer lenses.
Autofocus
The XF 18-55mm has Fuji’s premium LM (Linear Focus Motor) technology, but clearly the technology has improved over time, as the focus system feels dated here in relation to the other three options.
I ranked the lens last in a comparison for stills and gave these reasons:
least focus confidence and speed
some pulsing before final lock at times
hampered by dimmer maximum aperture in lower light
Manual focus very “stepped”
Most of the time the autofocus was fine, but I definitely felt like it didn’t hold up as well as newer lenses.
Video Tests:
The XF 18-55mm faired a little better in my video tests, but mostly because none of the four options do great with the state of video autofocus as it stands on Fuji in 2024 (which lags behind other major brands).
Focus pulls had fairly good speed and confidence
hand test not quite as responsive as other lenses
– NEGATIVE – will do both pulsing (on fixed shots) and warping (when zooming)
Image Quality Breakdown
MAJOR DISADVANTAGE – 18-55mm Variable aperture – Sigma, Tamron, and Fuji 16-55mm all have constant F2.8 aperture.
Vignette and distortion:
TIE 16-55mm +22 and +48 – mild mustache
18-55mm +19 and +59 – mild mustache
Sigma +24 and +92 – mild mustache
Chromatic aberrations
16-55mm (very good)
18-55mm* (bigger DOF)
Sigma – most fringing before and after
Resolution
Sigma (most consistent on wide end and on telephoto)
True for chart tests and real world results
Even when stopped down sharper than 16-55 on telephoto
16-55mm – better contrast than 18-55, better detail
18-55mm – visibly lower contrast throughout zoom range – aperture disadvantage starting at 20mm (F3.2)
The XF 18-55mm peaks at 23mm and fades as you progress towards the telephoto end of the zoom.
Color remains a strength for Fuji lenses, producing images that look great when viewed as a whole.
The bokeh looks fine (actually a little smoother than the 16-55mm F2.8, but there is less opportunity to create bokeh due to a mediocre minimum focus distance and a maximum aperture of F4 on the telephoto end.
Flare resistance isn’t perfect, but remains competitive.
Optically the XF 18-55mm has been eclipsed by newer lenses, with the Sigma 18-50mm F2.8 DN being my recommended alternative if you want a similarly compact lens that’s a little stronger optically.
Conclusion
The 40MP X-Trans sensor remains a very challenging one for Fuji’s catalog lenses for the simple reason that they weren’t engineered for such incredibly optical demands. Modern expectations are higher, and it is pretty clear that Fuji has plans to replace this lens soon. So should you still consider it in 2024 (or later)? There are few reasons to say a qualified yes. The first is that you can still make beautiful images with the lens:
More specifically, however, here the reasons I would consider this lens:
Price: if you are buying this lens on the used market, there’s a very solid chance you can get it considerably cheaper than alternative zooms.
OIS – this lens and the much larger Tamron 17-70mm F2.8 VC (my review here) are the only ones with in lens stabilization, and if you have a camera without in-camera stabilization, this could be a big factor.
Obviously if you are using one of Fuji’s older cameras, this lens will hold up better optically.
Keywords: Fujinon, Fuji XF, Fuji 18-55, Fujinon 18-55, XF, Fujinon XF 18-55mm, F2.8-4, F/2.8-4, Fuji, Fuji 18-55mm review, Fujinon 18-55 Review, Fujinon 16-55mm F2.8 Review, Dustin Abbott, Fujifilm, 40MP, X-H2, Fuji X-H2, Fujinon, Review, Hands On, Video Test, Sharpness, Autofocus, CA, Video AF, XF 16-55mm F2.8, Lens, Comparison, Test, Dustinabbott.net, Sample Images, Sample Video, Normal, Portrait, Travel, Canada, Myrtle Beach, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
I am extremely excited about Viltrox’s move towards premium lenses, like their upcoming LAB series and existing PRO lineup, but Viltrox is too clever a company to get locked into just one end of the market. Perhaps equally important to their development of higher end lenses is their development plans on the other end of the spectrum, where they are leveraging their growing optical expertise into high performing budget lenses. Ironically Viltrox has, from the beginning, built fairly premium feeling lenses. They have always been made primarily from metal, which feel nice but adds a bit of weight. So for Viltrox the transition to using plastic as the material for these new series of lenses was an intentional one.
The series began with the very useful AF 20mm F2.8 full frame lens (which I reviewed here), an extremely light, extremely inexpensive, but surprisingly strong optical instrument. They have announced a similar 40mm F2.5 STM full frame lens that is yet to come, but in the meantime their next lens in this series is the Viltrox AF 56mm F1.7 STM lens being released for Fujifilm X-mount. Fuji’s new XF 56mm F1.2 WR is a gorgeous lens, but it retails for a $1000 USD. This Viltrox lens will retail for under $150 USD (buy from Viltrox and use the code DUSTINABBOTT to get 8% more off!), meaning that you could buy nearly 7 of these lenses for the price of the Fuji. That makes it an attractive option for those who want this focal length but have a tight budget. Is it worth checking out? Find out my thoughts by watching the video review below…or just keep reading.
Thanks to Viltrox for sending me a review loaner of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV along with the Sony Alpha 1 that serve as my benchmark cameras for Sony lenses along with the Sony a7C2 that I happened to be reviewing at the same time.
Viltrox already has an existing autofocusing 56mm F1.4 APS-C lens (my review here) that they released in 2020, but that lens is heavier (290g) and more expensive ($299 USD) relative to this new lens. The Viltrox AF 56mm F1.7 has a slightly slower aperture (one half stop), lacks an aperture ring, but compensates in part by being extremely sharp. In fact, if you look at this chart I’ve made comparing the MTF from the two lenses, you can see that I’ve put a line through the 80% level. None of the performance of the older lens (at least at 30LPmm) reaches that threshold, while there is only the tiniest part of the image of the new lens that fall below that.
There is 15% more image sharpness in the center of the frame and and more than 20% more in the midframe. The corners are more like 40% sharper! This is going to be a very sweet bargain portrait lens. 56mm on Fuji’s 1.5x crop APS-C sensor translates to 84mm, a prime portrait focal length.
This tells us all we need to know about who this new lens is for: much like Samyang’s “Tiny series”, this lens is for those who don’t care about bells and whistles and just want a lightweight, high performing lens. And this lens is incredibly compact – look how compact it is when compared to the Fuji XF 56mm F1.2 WR and the yet-to-be-released TTArtisan AF 56mm F1.8 (another impressive little lens!)
The Viltrox is going to need all of that sharpness for this test, as they are first releasing this lens on Fuji X-mount, which means that I’ll be reviewing it on the most demanding platform I currently test, Fuji’s 40MP X-Trans APS-C sensor in the Fujifilm X-H2. Is this the rare budget lens that can handle this sensor? We’ll find out together.
Viltrox AF 56mm F1.7 Build and Handling
The first thing to note is the slightly unusual maximum aperture value. Similar lenses are going to be F1.8, not F1.7, but I like this move as it sets the lens apart and gives it a small but real advantage over F1.8 lenses. F1.8 is 2/3rds of a stop slower than F1.4, while F1.7 is 1/2 half stop slower. When swapping between this F1.7 lens and another lens with a maximum aperture of F1.8, I found that the Viltrox produced a 1/35th second shutter speed vs 1/30th second for the F1.8 lens. That’s not a lot of extra light gathering but it is something.
As noted, the Viltrox AF 56mm F1.7 eschews the heavier metal casing typically used for Viltrox lenses and embraces a more conventional, lightweight design in polycarbonates (engineered plastics). I wouldn’t call the build high grade here, but what I can say is that nothing about the plastics feel flimsy. It doesn’t have the feel of the early Samyang Tiny series lenses but instead feels tough and durable; its the kind of lens that feels like it could survive some falls (not that I intentionally dropped it!)
The new AF 56mm F1.7 is extremely compact, only 65mm in diameter (2.6″) and 54.7mm in length (2.15″). It weighs only 171g (6oz). You can see that while far from being a pancake lens, this lens only extends out a little way mounted on the camera.
This is a lens that is small enough to match even the smallest of Fuji’s cameras.
Up front we have a 52mm filter thread, which is a small but relatively common filter size. The front of the lens fascia has a variety of information imprinted on it and has a classic profile. I’m a fan of having some lens information on the front fascia, as I feel it adds character to the lens.
There is a very slim lens hood included that bayonets into place but without as much precision and confidence as I would like. It doesn’t feel like it really “clicks” into place and locks particularly well. A lens pouch is also included. The pouch doesn’t add a lot of protection value, but, like the hood, at least it is included. There are many more expensive lenses that include neither a pouch or a hood.
This inexpensive series is set apart from most of Viltrox’s lenses in that there is no aperture ring in the design. There are no switches, either. The only feature on the lens barrel is a wide manual focus ring. The manual focus ring has a nice amount of damping and moves smoothly. All manual focus aids (including automatic magnification of the focus area) will work with the Viltrox, though, as per usual on Fuji, major focus changes will take a lot of rotations, so manual focus is better reserved for fine tuning.
The Viltrox AF 56mm has 9 blades in its aperture iris. The blades do a very reasonable job of maintaining a circular shape as the aperture is stopped down. When stopped down far enough, an 18 bladed sunstar will emerge, though it isn’t particularly well defined.
We have an important Viltrox standard in the form of a USB-C port on the metal lens mount that allows you to connect the lens to a computer and update the firmware directly. The firmware update process is very simple; just unzip the upgrade folder, drag the firmware update file to the folder that shows up when the lens is attached to the computer, and the update is done in seconds.
The Viltrox AF 56mm has a minimum focus distance of 55cm, which unfortunately isn’t particularly close and only produces a 0.11x magnification, which is a little lower than average for the class. Here’s what that looks like:
Fuji’s newest 56mm F1.2 WR and the Sigma 56mm F1.4 DN can focus as closely as 50cm and give a better 0.14x magnification, though the Viltrox AF 56mm F1.4 focuses only as closely as 60cm and produces a lower 0.10x, while the older Fujifilm XF 56mm F1.2 focuses only as closely as 70cm and produces an even lower 0.09x magnification. So if the new Viltrox AF 56mm F1.7’s magnification is low, it is not exceptionally so. You certainly won’t be able to do any “macro” work with it, but you can certainly get close enough to strongly blur out a background.
While some Viltrox lenses have started to come with weather sealing, this inexpensive 56mm lens does not have it. It does have a HD Nano multilayer coating with water-resistant and antifouling coating on the front element.
Though short on bells and whistles, the Viltrox AF 56mm F1.7 does excel in one key area: it is very compact and lightweight. And while there aren’t any special features, the lens feels sturdy and well made. As I noted in the intro, this is a lens designed for a specific market, and I feel like Viltrox has made the right choices in order to give us a functional lens that at the same time is extremely inexpensive.
Viltrox AF 57mm F1.7 STM Autofocus
The Viltrox AF 56mm F1.7 STM utilizes a lead-screw type stepping focus motor (STM) that makes for reasonably fast and definitely quiet focus changes. Focus felt silent unless I put my ear up next to the barrel, where I could hear some very light whirring during major focus changes. Focus speed is slightly below average, particularly indoors, though the lens sped up a bit outside. There are some obvious steps (howbeit rapid ones) from this particular stepping motor during significant focus changes. I noticed focus speed far less in normal work where it’s rare to go from close to distant all the time. More minor focus changes happen fast enough that it didn’t stand out.
If focus speed is a bit disappointing (at least on Fuji), fortunately accuracy is not. I had good success locking onto a variety of subjects, up to and including portrait work. I shot two portrait sessions with the AF 56mm F1.7, and was very happy with my results from both. In the first session (primarily shot in a forest setting), I prioritized shooting through layers of boughs and branches to create natural frames for my subject, and autofocus had no problem locking accurately on what I wanted (the model’s eyes) rather than any of the distractions.
In the second setting, the setting was less complicated, but I did shoot at a number of focus distances and as my subject moved through a variety of different poses. Focus was excellent throughout the series.
I wouldn’t recommend the Viltrox AF 56mm F1.7 if your goal is shooting fast action, but for portrait work this lens is a HUGE bargain, delivering accurately focused results…and the lens optically is very, very nice:
This lens should be fine if you’re doing event, general purpose, or portrait work, but if you are looking for a lens fast enough to keep up with young children or animals moving around, look elsewhere.
Video AF is also a mixed bag. Focus pulls are rather unimpressive. They aren’t fast, and there is some obvious stepping in the process. This is very different from what I saw on Sony with the AF 20mm F2.8 lens, so at least part of this is the nature of Fuji’s video AF, which is a fair bit behind what I see on Sony and Canon. I was also testing the new Fuji XF 56mm F1.2 WR, and focus pulls, if anything, were worse.
My hand test was also a mixed bag, as while transitions from my hand to my eye and back were smoother and more confident, the slow reaction time meant that at least one of those transitions was missed altogether because the transition had already passed.
But ironically this was a positive for some real world shots where I moved slowly from one subject to another. Rather than an abrupt transitions, the focus transitions were actually fairly cinematic, moving smoothly and gradually from one subject to another. This is helped by focus breathing being fairly low for this long of a focal length, so this also helps keep you “in the shot”. Here’s a still from one of those transitions.
So, as with stills, choose this lens for accuracy over speed. There are faster options for focus speed at this focal length, but for slower work it will get the job done, and I suspect that future versions for other mounts will probably sport a little more speed.
Viltrox AF 57mm F1.7 Image Quality
The Viltrox AF 56mm F1.7 has an optical design of 11 elements in nine groups. What’s surprising in such an inexpensive lens is how many of these are exotic elements. There are four ED (extra-low dispersion) elements along with an additional 3 HR (high refractive index) elements, leaving just four of those elements being ordinary ones. We’ve previously noted how good the MTF chart for this bargain lens looks:
All of this adds up to a lens that is punching above its weight class optically, which is important, as the 40MP Fujifilm X-H2 is the most demanding sensor for lens performance of any platform that I test.
We’ll work through the chart results by first looking at distortion and vignette. The lens clears this hurdle largely unscathed, as there is minimal distortion, and, while vignette is a bit heavier, it isn’t extreme.
I used a-3 to correct a tiny bit of pincushion distortion, though for portrait work you probably don’t want to correct that (a bit of pincushion distortion is flattering). Vignette required a +75 to correct (3 stops), though it is fairly linear and largely “works” for portraits, creating a natural vignette that draws the eye to the subject. You can see in this comparison that the left side is profile corrected and the right is uncorrected. I personally favor the uncorrected result.
I sort images to my two card slots in my camera, with RAW files going to a CFExpress Type B card and JPEGs going to the SD card. This allows me to have both a backup and a frame of reference in situations like this, as I was curious as to whether or not this Viltrox lens is getting in-camera corrections on Fuji. The answer seems to be “yes”, with the JPEG showing far less vignette than the uncorrected RAW file.
There is a RAW correction profile available, and while I think it leaves a bit more vignette than what I would like, it largely matches the look of the JPEG image above.
The 56mm F1.7 shows very low amounts of longitudinal chromatic aberrations. Fringing is well corrected, leaving very little fringing on either my test results:
…but more importantly on real world results. Look at how neutral the inside and edge of this very shiny light reflector is – next to no fringing.
Lateral Chromatic Aberrations usually show up along the edges of the frame as fringing on either side of high contrast areas (like bare branches framed at the edge of images), but that doesn’t seem to be an issue here. You can see a nice, neutral transition from black to white on the corners of my test chart.
I also didn’t spot any issues in real world results, and my high resolution X-H2 would certainly show them off if they were there!
So how about resolution and contrast? All chart tests done with a Fujifilm X-H2 (40MP) using a tripod and a two second timer. Here’s a look at my test chart:
And here are the crops (at roughly 170% magnification) from the center, mid-frame, and extreme corner at F1.7:
We see here what the MTF chart suggested. Peak sharpness is actually slightly off center (more in our mid-frame image – the blue bill), while corner results are unusually good for this type of lens. This is a remarkably even performance in a way that I rarely see in lenses and almost never in budget lenses. To put that edge performance in perspective, here’s a look at the Sirui Sniper 56mm F1.2 stopped down to F1.8:
A more similarly priced lens is the soon-to-be-released TTArtisan AF 56mm F1.8, and while the TTArtisan lens is competitive in the center of frame, the Viltrox AF 56mm F1.7 is much sharper in the mid-frame and corners. Here’s a look at the mid-frame comparison:
In real world images wide open contrast isn’t flawless in the way a lens like the Viltrox Pro AF 75mm F1.2 is, at least on Fuji’s 40MP APS-C sensor, but I suspect it would be on 26MP sensors from Fuji or Sony. Even on 40MP, however, results look great:
This becomes the new champ for the least expensive way to take full advantage of resolving this taxing sensor and will leave most of Fuji’s older lens catalog in the dust (including the older XF 56mm F1.2). The new Fujifilm XF 56mm F1.2 WR is sharper and higher contrast in the center of the frame (at F1.8), but the Viltrox actually has the slight edge in the mid-frame and corners. It’s a very impressive lens.
The Viltrox clearly can’t compare to the Fuji in build, features, and autofocus speed (not to mention it doesn’t have F1.2), but when both lenses are stopped down a bit to F2, it is shocking how comparable they are for portrait work in both overall rendering and color…
…and also for contrast, detail, and skin tones.
This is probably the most impressive budget portrait lens on Fuji X-mount.
In my chart tests, I saw little advantage in stopping down a bit, but in real world results I did feel that contrast improved, allowing the details to pop a bit more:
While the difference isn’t obvious, I did prefer shooting at F2 to F1.7 for portrait work as I felt there was more variation in the highlights and shadows on my subject’s faces due to that slight improvement in contrast.
Centering wasn’t perfect on my copy, with the results on the left side of the frame being slightly softer than the right side. Sharpness on the left side picked up as I stopped the lens down, with peak consistency across the frame coming at F5.6. By this point I found landscape images were sharp across the frame (my second crop is from the left side):
On a high resolution body like my X-H2, diffraction comes early, so while F8 still looks as good as F5.6, by F11 you will see some softening of the fine details due to diffraction, and by F16 (minimum aperture) the image is considerably softer.
Obviously the amount of sharpness this inexpensive lens is capable of is nothing short of impressive.
I was also fairly pleased with the quality of bokeh. On the negative front, you can see that there is some of the typical deformation of the circular shape of specular highlights near the edges of the frame (lemon shape):
But that does produce a bit of a “swirl” effect at F1.7 than some people are partial to:
I found that bokeh at portrait distances was generally favorable – soft and without any hard edges to grab the attention.
The subject isolation isn’t going to match an F1.2 or F1.4 lens, obviously, but the quality of the blur is nice.
To give you some perspective, here’s another comparison to the Fuji XF 56mm F1.2 WR with both lenses wide open. At a casual glance, the difference is not astranomical.
But if you look closer, the quality and softness of the blur out of the out-of-focus areas is significantly different.
The result on the right is what you pay the big bucks for, and that difference is going to be even more pronounced in less favorable situations where the background is closer.
At close focus distances, the Viltrox AF 56mm F1.7 produces lovely, blurred backgrounds, like in this shot of its attractive competitor – the TTArtisan AF 56mm F1.8:
What really surprised me in the comparisons with the very expensive Fuji XF 56mm F1.2 WR is how similar the colors looked. I’ve been working on my review of that lens, and I love the color and look of images from it. I traveled to Myrtle Beach with it along with three standard zoom options (Sigma 18-50mm F2.8, Fuji 18-55mm F2.8-4, and the Fuji 16-55mm F2.8). There’s no question that the images from the 56mm F1.2 had an extra “sparkle” to them that I instinctively preferred. The Viltrox is almost certainly not as good as the Fuji, but in my side by side portrait sessions I was surprised by how well the Viltrox held up.
That’s huge, as my chief objection to early Viltrox lenses is that I didn’t love the colors from their optical glass. They have grown so much as a lensmaker, and it is apparent even in these budget lenses.
Flare resistance was also fairly good for a short telephoto lens. I saw so mild ghosting artifacts when point right at the sun, but nothing significant. I also tried moving around to get some veiling at large apertures, and the final result is the worst result I could get…and it’s not bad!
This inexpensive lens houses some very impressive optics. There aren’t too many flaws here.
If you’re on a tight budget and want a portrait lens, look no further. The bang for the buck here is fantastic. This lens feels as compelling as many lenses that I’ve reviewed costing 2-3 times as much. You can see more beautiful images by visiting the image gallery here.
Conclusion
I’ve been surprised by how engaging I have found these budget Viltrox lenses. I love their new higher end lenses with the amazing optics and premium feature set, but there’s also a lot to be said for lightweight, inexpensive lenses that exceed your expectations for their performance. These lenses have tapped into the same fondness I feel for lenses like Samyang’s Tiny series in that there is always a bit more than meets the eye there.
While I’ve reviewed the Viltrox AF 56mm F1.7 STM on one of Fuji’s largest bodies, this is a lens that will be a great match for Fuji’s smaller bodies, particularly those equipped with IBIS (like X-S10 or X-S20). It will have no problem resolving that smaller 26MP sensor and delivering stunning results.
Because I had a clear idea of what to expect in the build, I have no disappointments there. While there’s nothing fancy here, the lens feels tough and well made. The optics exceeded my expectations in just about every way, leaving only the autofocus as being a bit less than expected. Some of that clearly has to do with this being a Fuji X-mount lens, as Fuji’s autofocus just isn’t as sophisticated as some competitors. I hope to revisit a Sony E-mount version of the lens when released, as I suspect that will be more impressive. But this is a LOT of lens for the price of under $150 USD, and I think this is a great budget portrait option for Fuji shooters who don’t want to spend a lot. It’s also the lowest priced lens I’ve yet tested that really thrived on Fuji’s demanding 40MP sensor. That’s impressive, and is just one more reason why Viltrox as a brand may be the biggest disrupter that the lens market has seen in a long time.
Keywords: Viltrox, Viltrox AF, Viltrox 56mm, Viltrox 56mm F1.7, 56mm, F1.7, STM, AF, Fuji X-H2, Fujifilm, Fuji X-T5, X-S20, Full Frame, Review, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Portrait, #viltrox, #letthelightin, #viltroxAF1756, #DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
I am extremely excited about Viltrox’s move towards premium lenses, like their upcoming LAB series and existing PRO lineup, but Viltrox is too clever a company to get locked into just one end of the market. Perhaps equally important to their development of higher end lenses is their development plans on the other end of the spectrum, where they are leveraging their growing optical expertise into high performing budget lenses. Ironically Viltrox has, from the beginning, built fairly premium feeling lenses. They have always been made primarily from metal, which feel nice but adds a bit of weight. So for Viltrox the transition to using plastic as the material for these new series of lenses was an intentional one.
The series began with the very useful AF 20mm F2.8 full frame lens (which I reviewed here), an extremely light, extremely inexpensive, but surprisingly strong optical instrument. They have announced a similar 40mm F2.5 STM full frame lens that is yet to come, but in the meantime their next lens in this series is the Viltrox AF 56mm F1.7 STM lens being released for Fujifilm X-mount. Fuji’s new XF 56mm F1.2 WR is a gorgeous lens, but it retails for a $1000 USD. This Viltrox lens will retail for under $140 USD (buy from Viltrox and use the code DUSTINABBOTT to get 8% more off!), meaning that you could buy nearly 7 of these lenses for the price of the Fuji. That makes it an attractive option for those who want this focal length but have a tight budget. Is it worth checking out? Find out my thoughts by watching the video review below or by reading my text review here.
Thanks to Viltrox for sending me a review loaner of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV along with the Sony Alpha 1 that serve as my benchmark cameras for Sony lenses along with the Sony a7C2 that I happened to be reviewing at the same time.
Viltrox already has an existing autofocusing 56mm F1.4 APS-C lens (my review here) that they released in 2020, but that lens is heavier (290g) and more expensive ($299 USD) relative to this new lens. The Viltrox AF 56mm F1.7 has a slightly slower aperture (one half stop), lacks an aperture ring, but compensates in part by being extremely sharp. In fact, if you look at this chart I’ve made comparing the MTF from the two lenses, you can see that I’ve put a line through the 80% level. None of the performance of the older lens (at least at 30LPmm) reaches that threshold, while there is only the tiniest part of the image of the new lens that fall below that.
There is 15% more image sharpness in the center of the frame and and more than 20% more in the midframe. The corners are more like 40% sharper! This is going to be a very sweet bargain portrait lens. 56mm on Fuji’s 1.5x crop APS-C sensor translates to 84mm, a prime portrait focal length.
This tells us all we need to know about who this new lens is for: much like Samyang’s “Tiny series”, this lens is for those who don’t care about bells and whistles and just want a lightweight, high performing lens. And this lens is incredibly compact – look how compact it is when compared to the Fuji XF 56mm F1.2 WR and the yet-to-be-released TTArtisan AF 56mm F1.8 (another impressive little lens!)
The Viltrox is going to need all of that sharpness for this test, as they are first releasing this lens on Fuji X-mount, which means that I’ll be reviewing it on the most demanding platform I currently test, Fuji’s 40MP X-Trans APS-C sensor in the Fujifilm X-H2. Is this the rare budget lens that can handle this sensor? We’ll find out together.
Keywords: Viltrox, Viltrox AF, Viltrox 56mm, Viltrox 56mm F1.7, 56mm, F1.7, STM, AF, Fuji X-H2, Fujifilm, Fuji X-T5, X-S20, Full Frame, Review, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Portrait, #viltrox, #letthelightin, #viltroxAF1756, #DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
Fuji’s move to the 40MP resolution point on some of their higher end cameras has been pretty punishing on many of their existing lenses, but it also really makes it clear which lenses are exceptional. I reviewed one such lens earlier this year in the form of the XF 33mm F1.4 R LM WR, and immediately people began to tell me that I needed to try out the Fujinon XF 23mm F1.4 R LM WR as well, as it was even better. Well, they were right; this lens is awesome! It’s a clear and easy choice for those looking for a premium prime lens covering the classic 35mm angle of view (23mm is 34.5mm in full frame equivalence due to Fuji’s 1.5x crop factor). The XF 23mm has been out for roughly a year and a half now, but it feels like it was made for these new high resolution bodies. This is an easy lens to produce lovely photos with.
Fuji has opened up their platform to third party lenses, and there are a number of lenses that look pretty much identical on paper, but aren’t in practice. This includes a Tokina ATX-M 23mm F1.4 ($299 USD), Viltrox 23mm F1.4 ($299 USD, and the Sigma 23mm F1.4 DN that is rumored to soon be coming in Fuji X-mount ($549 USD). The Sigma, in many ways, will prove the most competitive (based on my findings with the Sony E-mount version), but I think there are still a number of ways where the Fuji XF 23mm F1.4 is operating on its own level. It’s got solid features, great autofocus, and gorgeous optics.
But that does come at a cost. The Fujifilm XF 23mm F1.4 R LM WR retails for $899, which means that you are going to pay for that goodness. If we were all made of money, we would all choose the absolute best gear regardless of cost, but in the real world the reality of a lens costing hundreds of dollars more than the competition is going to be a factor. My review will remember that tension that you, as the consumer, have to deal with as a part of my assessment.
So should you add one to your kit? We’ll try to answer that question in this review. If you would prefer to watch your reviews, you can choose watch my definitive video review below…or just keep reading.
Thanks to Fujifilm Canada for loaning me the 23mm F1.4. I’ll be doing this review on my X-H2, which I reviewed here. As always, this is a completely independent review and my conclusions are my own.
Fuji XF 23mm Build and Handling
Fuji likes to essentially build the feature list of their lenses right into the name, so if you learn to “speak Fuji” you can quickly get a sense of what a lens does and does not have right from the name. In this case, the name includes R, LM, and WR, which is a robust feature set.
R = Ring, or specifically an aperture ring.
LM = Linear Motor, Fuji’s premium focus system
WR = Weather Resistance
That adds up to a fairly premium lens despite the compact size of the lens. This lens is slightly larger and heavier than the previous generation 23mm F1.4, but the tradeoff is that it is better at everything. The Fuji XF 23mm F1.4 is pretty much identical to the 33mm F1.4, having very pleasing proportions that look very nice when mounted on the camera.
Now, to be fair, I tested both of these lenses on one of Fuji’s largest APS-C bodies – the X-H2, so if you are using one the very small bodies and want to travel as light as possible, there are smaller/lighter alternatives (the XF 23mm F2, for example). To me, however, this is a great size lens on the X-H2.
The dimensions of the XF 23mm F1.4 are 2.6 (D) x 3.1″ (L) / 67 x 77.8mm with a 58mm front filter thread size. The weight is a very moderate 13.2 oz or 375g. That makes the 23mm very slightly larger and heavier than the 33mm, but barely; it is just a few millimeters longer and about 5 grams heavier. As with the 33mm options, the two competing lenses from Viltrox and Tokina are identical in their own proportions and specifications. Both are 2.6 x 2.8″ (65 x 72mm) though the Viltrox weighs in at 260g while the Tokina is slightly heavier at 276g. But there’s more – they both have the same optical design (11 elements in 10 groups) and the same MFD (30cm) and maximum magnification (0.10x). Same filter thread size (52mm) and same number of aperture blades (9). That’s weirdly similar. The Sigma (in Sony form) is more unique at 65.8 x 79.2mm and 330g in weight, making it the most similar to the Fuji. Here’s a look at a comparison chart between the for lenses:
Bottom line is that while the Fuji is the heaviest of this group, it is also the best made, has full weather sealing, and has a slightly larger/more robust linear focus motor. The weight is still very light and I found the camera and lens effortless to carry around even without a strap for hours while exploring the Notre Dame campus in South Bend, Indiana.
The aperture ring is the Fuji standard. It moves nicely with defined detents at the one third stop marks and with markings at the full stops (F1.4. F2, F2.8, etc…). Rotate the lens all the way to the right and click the little button on the ring if you want to move into A (automatic) mode and control aperture from within the camera.
The manual focus ring works fairly well. I could focus with fairly good precision and didn’t notice visible stepping despite being a focus by wire system.
The Fuji XF 23mm is a very nicely made lens despite its light weight. It feels very “metal” and dense. The lens has a classic semi-glass black finish to it and is completed with thorough weather sealing (as already noted) that has a rear gasket and internal seals.
The included lens hood is is made of plastic but feels more substantial than the one on the 33mm that I tested.
There are no switches on the barrel, as AF/MF is handled via a lever/button on Fuji camera bodies. But many other lensmakers are including things like a focus hold button and/or declick option in lenses in this price zone, and it feels like the standard has been raised and Fuji isn’t quite meeting it. There is also no lens based optical stabilization. I used the X-H2 for this review, which has good in-camera-image-stabilization, so I didn’t actually miss it, but if you are shooting with an older camera, you might.
There are nine rounded aperture blades and I felt like the aperture did quite a good job of retaining a circular shape when stopped down. Here’s a look at the geometry at F1.4, F2, and F2.8:
There is significant lag in the aperture when trying to do aperture racking for video (already difficult because of the clicks) along with visible “steps”. There will be no smooth opening and closing of aperture for an aperture rack.
The minimum focus distance is 19cm, which allows for a reasonably high 0.20x, which is the best amongst these competing lenses (Viltrox and Tokina have 0.10x and the Sigma has about 0.14x). Here’s a look at MFD:
Up close performance is good, and this real world shot shows both the magnification level and the detail available.
Contrast certainly isn’t at macro level, but there’s enough detail there to make up close shots with strongly blurred backgrounds a definite strength.
Overall, the build and features of the lens are very nice, and, as noted in the intro, the compact nature of the lens makes it easy to bring along.
Fujinon XF 23mm Autofocus Performance
The Fujinon XF 23mm F1.4 Macro is equipped with a linear focus motor, and that motor does the job of moving focus quickly and smoothly. It was also very accurate on my X-H2, which gave me more confidence using it than I typically feel when using Fuji. I really felt like I could rely on getting accurate autofocus in a wide variety of situations. I was a guest at a wedding, and when the bride and groom came through the door I only had a quick moment to turn and take a shot. They were backlit, there were about 10 rows of people between me and them, and I shot at F1.4. Autofocus was accurate despite all these factors.
General portrait work was very good, with consistently accurate focus.
Autofocus up close was good as well, allowing for lovely close shots:
Focus was quiet and quick, allowing me to grab shots even during action, like on the golf course.
As odd as it may seem, I was also relieved to see good focus at smaller apertures, like for landscapes or architecture. Sometimes lenses focus fine at wide apertures, but not at smaller apertures.
The XF 23mm F1.4 was also quite good for video work, though I continue to see a few Fuji quirks. Focus pulls were good, with no visible steps. Focus breathing is extremely low, which helps focus transitions look very smooth. But on the negative side, touching a new focus area on the screen doesn’t always produce a reaction, or sometimes the move to focus to a new area is delayed. I think that is largely on Fuji’s focus system and touchscreens, which just aren’t as responsive as some competing brands, but there is clearly the potential in the lens for strong performance for video.
When doing my hand test (blocking focus on my face with my hand and then removing it to allow focus to return to the eye), I saw mixed results. The problem was never focus on my face, but rather sometimes the focus system didn’t move to my hand. It would focus on the background beyond me instead. Bottom line: there’s still room for improvement on the video AF front for Fuji, but I actually don’t think that the lens is the problem.
Autofocus was definitely better than average, however, so I’m satisfied. Most of the time focus very – ahem – sweet:
This is the kind of lens I would want to have on my Fuji camera in critical focus situations.
Fuji XF 23mm Image Quality Breakdown
The Fuji XF 23mm has a complex optical formula of 15 elements in 10 groups, which includes 2 aspherical and 3 ED elements – essentially an identical optical design to the 33mm. The MTF chart shows very sharp center performance, a dip in the midframe, and then a minor correction where the edges of the frame are slightly sharper.
It’s worth noting that Fuji displays their MTF charts at higher values than usual. Most MTF charts use 10 and 30 lines/mm, but Fuji shows their MTF charts at 15 and 45 lines/mm. That’s actually useful since the release of their 40MP sensors, as the more demanding MTF chart (at 45 l/mm) is a more accurate representation of how lenses will perform on a high resolution body. As noted in the intro, I feel like the XF 23mm F1.4 has joined a very short list of lenses that I feel really thrive on the 40MP cameras.
Fuji’s correction profiles are typically quite good, but I’ll turn them off to take a look at the actual lens performance when it comes to vignette and distortion.
We can see that there is some barrel distortion and fairly heavy vignette present. If I do a manual correction I find that the distortion pattern is quite linear and is corrected with a value +13. The vignette is heavy, requiring a +81 to clear it up (about 3 stops). The correction profile does all of this easily either in camera for JPEG/Video or in software for RAW files.
Nothing too troubling here. How about chromatic aberrations? First of all, nothing jumped out at me in real world testing. When I went looking for longitudinal chromatic aberrations, I really could not find much of anything. Bokeh highlights were neutral, and there was little fringing to be seen. In this shot I don’t see any fringing either in the crystals or in the bokeh highlights beyond.
I saw next to no lateral chromatic aberrations near the edge of the frame either on my chart in on bare branches in real world shots, so nothing to worry about on that front.
Here’s a look at my test chart that the crops came from (40MP images from the X-H2):
Here’s a look at F1.4 crops (about 175% magnification) from the center, mid-frame, and corner:
The XF 23mm F1.4 has more consistent sharpness, contrast, and detail across the frame than the 33mm did, making it one the sharpest Fuji prime lenses that I’ve yet tested. The results look very much like a good lens on one of the full frame platforms that I test, which is, frankly, very unusual on APS-C. I was very pleased to get high contrast, detailed results even at F1.4:
That’s very big deal when you are talking about this level of resolution. A full frame camera would have to be roughly 91MP to have a similar level of pixel density, so the XF 23mm F1.4 is being held to a higher standard in these tests than on any other platforms, and the fact that a compact lens is succeeding so well under these demands is very impressive. Don’t expect anywhere near this level of performance from the Viltrox or Tokina 23mm F1.4 lenses. I don’t have either of them on hand to compare to, but when I looked back on my review of the Viltrox, it didn’t deliver as good of results on Sony even though I tested it on just an 18MP resolution point. The Sigma will likely be the strongest competitor based on my Sony E-mount test, and I’ll revisit this comparison when I do a review on X-mount.
Even a mild stop down to F1.8 produces improved contrast across the frame and brighter corners.
Stopping the lens down to F2 adds a bit more contrast in the mid-frame and corner, with the center mostly staying the same. Stopping on down to F2.8 improves contrast and clarity to fantastic levels across the frame.
Real world images in this range are crisp and detailed all across the frame (this shot at F2.8):
The importance of this cannot be overstated, particularly if you are looking for lenses that are a good match for a high resolution body. Diffraction comes early on high resolution cameras, so being able to get your best results at wider apertures is really important. High resolution bodies also tend to be noisier at high ISO values, so the ability to get crisp results at large apertures allows one to keep the ISO down in lower light situations and get clean results. The XF 23mm F1.4 is one of the best pairings for Fuji’s 40MP sensors that I’ve yet reviewed.
At landscape apertures there is plenty of detail across the frame. Couple that with Fuji’s excellent color rendition, and you have a lens very well suited for landscape work:
Diffraction sets in pretty early on my X-H2, so by F8 images are starting to soften slightly, and by F16 the effect is very pronounced. On the new higher resolution bodies with the 40MP sensor, I would try to stay at F8 or larger as much as possible.
The 23mm is clearly sharper than the 33mm, but I would give the edge to the 33mm for the quality of the bokeh. It’s not unusual for the lens with wider focal lengths to be less “creamy” in the bokeh region than longer focal lengths. This shot of the morning dew shows what I would consider the biggest “bokeh issue” for the lens – it has more outlining than what I would like to see.
When you arrived at strongly defocused backgrounds (look at the upper portion of the image below), the bokeh looks quite good. But in the early transition to defocus there are still some harder edges.
You can see it here in this shot of votive candles: the defocused region is only okay, certainly not exceptional.
One final image to illustrate the point – this shot of an ornate stair rail shows a lot of outlined circles in the defocused regions; you certainly couldn’t classify it as “soft”.
This is often the Achille’s heel for very sharp, high contrast lenses. It’s hard to turn that contrast off in the defocused area. It’s a rare lens that can combine both intense contrast and sharpness with very soft and creamy defocused areas, so often lens designers have to look for some compromise between the two. The XF 23mm F1.4 is biased towards the sharpness side of the equation.
This isn’t to say the bokeh is bad (it’s not), but it’s just a little busier than I personally would like. When at its best the XF 23mm F1.4 delivers images that have great detail on the subject and fairly nice rendering in the background.
This image is a good segway into a discussion of flare resistance. You can see from the upper right portion of the image above that there was bright sunlight coming into the frame, and yet contrast has held up. There’s a hint of an artistic veiling effect that shows up a little more strongly in this image here:
I’m actually very partial to this effect, as it can add an artistic effect to images. In fact, one of my favorite images from the wedding I (casually) shot with this lens was this “getaway” image of the bride and groom where I intentionally got low to get some flare effectives in the image. Contrast is strong in the image, but there is a very nice sunstar effect. There is a moderate ghosting artifact near the bottom of the frame, but nothing too heinous.
I was very pleased with the look of the sunbursts from the lens. They are nicely defined with blades that end in points.
Color rendition is typically a strength for Fuji glass, and I think that’s true here. Color are rich, nicely saturated, and images have a pleasing “pop” to them.
Here’s another shot of an interior space that shows nice color rendition.
Skin tones were also very nice. I would consider this a great option for wedding photographers for a lot of the reasons I’ve already mentioned.
Fuji’s transition to the very high resolution point on some of their recent cameras has prompted my own move to the X-H2 as my Fuji camera and test body. I’ve quickly discovered that a 40MP APS-C sensor really changes the calculus of what lenses are going to be acceptable to someone who looks critically at lenses for a living. I’ve been left disappointed by a number of lenses that just don’t seem to ever get quite sharp enough to resolve this sensor, so a lens like the Fujinon XF 23mm F1.4 R LM WR is a breath of fresh air. It makes my X-H2 essentially the equivalent of a full frame camera, with great detail and autofocus, but with a smaller, lighter form factor than what most full frame lenses can compare to. I love my Sony FE 35mm F1.4 G Master lens, and have marveled at how compact it is (for what it is), but there’s no arguing the fact that it is 50% bigger and heavier than this XF 23mm F1.4. That is the (potential) advantage of APS-C, and it is nice to see it realized here.
A lens like this is a great option in lower light or at night, as you can shoot with confidence at large apertures and still get crisp, detailed results.
Autofocus performance was also a clear cut above older Fuji lenses, and, while Fuji still has a ways to go to quite match what Sony and Canon are doing, the gap seems to be closing a bit. If you have purchased or are considering purchasing an X-H2 or X-T5 (or some future body with the 40MP sensor), then I can recommend the XF 23mm F1.4 to the short list of lenses that have high enough performance to thrive on that platform. At the same time, the price tag of $899 USD is not cheap, so a lens like the Sigma 23mm F1.4 DN might become the next best thing if you can’t afford the Fuji. I can also say, with confidence, that the Fujinon XF 23mm F1.4 R LM WR is the best lens you can get at this focal length in X-mount.
Pros:
Well made lens in a compact package
Good build and weather sealing
Linear motor is quiet and fast
Good stickiness on eyes during focus
Focus pulls are smoothly damped
Very low focus breathing
Good sharpness across the frame from F1.4 on
Low levels of chromatic aberrations
Beautiful color rendition
Cons:
No declick option or physical controls other than aperture ring
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
Fuji’s move to the 40MP resolution point on some of their higher end cameras has been pretty punishing on many of their existing lenses, but it also really makes it clear which lenses are exceptional. I reviewed one such lens earlier this year in the form of the XF 33mm F1.4 R LM WR, and immediately people began to tell me that I needed to try out the Fujinon XF 23mm F1.4 R LM WR as well, as it was even better. Well, they were right; this lens is awesome! It’s a clear and easy choice for those looking for a premium prime lens covering the classic 35mm angle of view (23mm is 34.5mm in full frame equivalence due to Fuji’s 1.5x crop factor). The XF 23mm has been out for roughly a year and a half now, but it feels like it was made for these new high resolution bodies. This is an easy lens to produce lovely photos with.
Fuji has opened up their platform to third party lenses, and there are a number of lenses that look pretty much identical on paper, but aren’t in practice. This includes a Tokina ATX-M 23mm F1.4 ($299 USD), Viltrox 23mm F1.4 ($299 USD, and the Sigma 23mm F1.4 DN that is rumored to soon be coming in Fuji X-mount ($549 USD). The Sigma, in many ways, will prove the most competitive (based on my findings with the Sony E-mount version), but I think there are still a number of ways where the Fuji XF 23mm F1.4 is operating on its own level. It’s got solid features, great autofocus, and gorgeous optics.
But that does come at a cost. The Fujifilm XF 23mm F1.4 R LM WR retails for $899, which means that you are going to pay for that goodness. If we were all made of money, we would all choose the absolute best gear regardless of cost, but in the real world the reality of a lens costing hundreds of dollars more than the competition is going to be a factor. My review will remember that tension that you, as the consumer, have to deal with as a part of my assessment.
So should you add one to your kit? We’ll try to answer that question in this review. If you want more information, you can choose to watch my definitive video review or read the text review…or just enjoy the photos below.
Thanks to Fujifilm Canada for loaning me the 23mm F1.4. I’ll be doing this review on my X-H2, which I reviewed here. As always, this is a completely independent review and my conclusions are my own.
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
The Fujifilm X-S10 was one of my favorite Fuji cameras of the previous generation. I gave it a positive review when it was released roughly 2.5 years ago as I liked the balance of bringing some of the best features of the X-T series into a smaller, cheaper package. A lot of Fuji cameras occupy the premium end of the APS-C space, and the X-S10 provided a strong camera at the roughly $1000 USD price point that largely had superior specs to alternatives from other brands. The Fujifilm X-S20 is the successor to the X-S10, and, as always, there’s some pros and cons. On the plus side, there are a number of core improvements (particularly on the video side), but, in the negative column there is a jump in price from the $1000 range up to $1300. There was nearly a $700 gap between the X-S10 and the X-T4; the gap between the X-S20 and the X-T5 is only $400, which will certainly leave a few buyers strongly considering that camera instead.
The X-T5 received the higher resolution sensor of the X-H2 (40.2 MP) while the X-S20 carries on with the older 26MP X-Trans BSI-CMOS sensor found in a number of other Fuji cameras. This might be part of Fuji’s market strategy, however, as not everyone needs (or wants) the higher resolution point.
The X-S10 was a bit more revolutionary than the X-S20 as it was the first of Fuji’s lower priced models to get features like IBIS (In Body Image Stabilization), the 26MP X-Trans sensor, faster burst rates, and a fully articulating LCD screen. The X-S20 is more evolutionary than revolutionary with more subtle improvements. A lot of the core features remain the same:
26.1MP BSI X-Trans IV CMOS sensor
ISO 160 to 12800 (80 to 51200 extended)
Hybrid AF system (117 contrast / 425 Phase Detect points)
Up to 20fps continuous shooting with electronic shutter (30fps with 1.25x crop)
1/4000th second max. shutter speed (1/32,000th using the electronic shutter)
0.39-in OLED EVF with 0.62x magnification, 100Hz
Similar Dimensions (the X-S20 is 1.7mm wider and 26g heavier)
Single SD card slot
Key improvements include:
Larger NP-W235 battery (from higher end models) that nearly doubles shots and video record time
Deep AI learning autofocus tracking (similar to X-T5 and X-H2)
Newer/faster X-Processor 5
Slightly improved IBIS
Up to 6.2K video and 4K60 options
Improved LCD resolution
Card slot now supports UHS-II
Deeper buffer
Can be used as a webcam via the USB-C port
When you add all of these up it equals an improved camera in a number of key areas, but there really isn’t a lot of new features that jump off the page. This is a pretty common trend in camera development, in my experience, as while some generations really push the envelope for new features, the next generation is often where those features are refined and the camera matures. In short, it’s in that second generation that things start to work as they should! The challenge here is that Fuji has elected to do a significant price increase on the cycle where there isn’t a lot of headline new features or upgrades. Will that present a marketing challenge? Will the X-S20 be as successful at $1300 as the X-S10 was at $1000? That remains to be seen.
For those that want a smaller, lighter, simpler camera that has many similar features to the higher end Fujifilm X-T5 (my review here), the X-S20 offers a compelling package. It has solid autofocus, competitive buffer depth, long lasting battery life, and very good image quality. It also happens to be quite a little video powerhouse, as we’ll see. It also comes at a great time for the Fuji ecosystem, as Fuji’s opening up to third party lenses has opened a floodgate of new development from Sigma, Tamron, Samyang, Viltrox, and more. I’ll use a few of those new lenses in this review, including the Tamron 11-20mm F2.8 RXD and the Viltrox Pro AF 75mm F1.2. I’ve also got some interesting new lenses on hand from Fuji, including the new XF 8mm F3.5 wide angle lens and the XF 18-120mm F4. I’ll also throw in a few shots from the extremely inexpensive XC 15-45mm F3.5-5.6 OIS PZ kit lens. The question to be answered is if the X-S20 ends up feeling “worth the money” relative to Fuji’s alternative offerings. I’ll do my best to answer that in this review. If you would prefer to watch your reviews, you can check out my definitive video review instead.
Thanks to Fujifilm Canada for sending me a review sample of the X-S20 and some lenses. As always, this is a completely independent review. All conclusions are my own.
Fuji X-S20 Build, Handling, and Features
The X-S20 continues the trend of taking a number of high end features from the X-T series and packing them into a considerably smaller body. The X-H2 is fairly large – pretty much equivalent to a full frame camera, and the X-T5 is smaller and slimmer, but the X-S20 feels very compact in something akin to the Sony a6600. It measures in at: Width: 127.7mm (5″) | Height: 85.1mm (3.4″) | Depth: 65.4mm (2.6″). The grip is fairly deep, though as always with shorter cameras like this I feel like I have no place to put my pinky finger because of the relatively low height.
The weight is still quite light at 491g (1.1lb) with memory card and battery, or 410g (0.9lb) without. The X-S10 weighed 465g with battery and memory card, but that’s a little deceptive as the battery was so much smaller. The bare camera weighed 415g, or 5g more than the X-S20. Fuji has actually managed to keep the weight quite low despite the camera being very slightly wider than its predecessor.
My only other grip complaint (outside of having no place for my pinky!) is when using larger lenses. I noticed when using the Viltrox Pro AF 75mm F1.2 that the deep grip combined with a wider lens made for a close fit for my fingers between the lens barrel and the grip of the camera. I had a recent injury to one of those fingers and it is still a bit sensitive, so I noticed more than I might ordinarily.
Viewed from the front, the X-S20 has a classic Fuji camera profile, though conspicuously missing is my favorite little control level for choosing between M/S/C (Manual, Single Shot, Continuous).
It remains a curious omission, as some lower priced cameras have it. I find this control particularly important on Fuji bodies as Fuji lenses themselves almost never have an AF/MF switch, so that lever is the simplest, most direct way to enable MF. I had to go into menus to choose MF, which is obviously a slower process.
While I’m griping, I’ll detail my other main handling complaint. Like the X-S10 before it, the X-S20 has only a single SD slot that is located down in the battery compartment on the bottom of the camera. That location means that if you ever work from a tripod (for video or stills) and mount a quick-release plate, you almost always have to remove or at least loosen the QR plate so it can be moved out of the way to access the battery compartment and memory card.
It may seem like a minor thing, but as someone who does major projects where I’m collecting a lot of video and stills for reviews, this gets really annoying. I MUCH prefer a memory card location on the side of the camera. The higher end X-T cameras have two card slots and a memory card compartment on the side.
As noted, the battery is improved from the lower end NP-W126S Rechargeable Lithium-Ion, 8.4 VDC, 1260 mAh unit that is rated for 325 Shots to the much better, much larger NP-W325 unit found on Fuji’s higher end cameras. The NP-W325 is a 2200 mAh battery and is rated for 750 shots here, or more than double the rating of the previous battery pack. It also means that video recording time as related to battery life is vastly improved as well – expect to get around 2 hours of record time on a charge. This is one the biggest practical improvements to the camera (and an issue that I harped on for the X-S10, as there was clearly room in the grip design for the larger battery. The grip is the exact same size on the X-S20).
Though small and compact, the build materials on the X-S20 are excellent. It is built from the same premium magnesium alloy we see on higher end cameras.
This promises to make the camera more durable and professional grade, though that is counterbalanced by the reality that there is no weather-sealing in the camera body.
Sigh.
The realities of mid-level cameras, where you are sometimes delighted by what’s there and then frustrated by what is not.
On the positive note of what is here, we have a great 3″ fully articulating touchscreen that has been upgraded to a higher 1.84 million dot resolution. I love an articulating LCD as it allows for front monitoring and also more flexibility in the camera position and angle of shots.
This can really make a difference when in front of the camera, as it gives you visual feedback on framing and if something goes wrong (like a dead battery)!
Fuji’s touch capacity has not changed (or improved) over the three generations of cameras that I have now tested. It used to be that Fuji was at least better than Sony, but Sony has finally improved on this aspect and their recent cameras are fully navigable by touch. Fuji allows you to select focus areas, touch to capture, and to navigate the Q (quick) menu, but no navigation of main menus and there is noticeable input lag when compared to the better response of competitors. It’s time for some serious improvement to the touch capacity of Fuji cameras, as they have fully fallen behind in this area.
Speaking of that Q menu…
On the X-T30, the Q button was placed right on the thumb rest area, a serious ergonomic faux pas, so Fuji has wisely relocated the Q button from there. The new position (on top of the camera) works fine, though it won’t be intuitive for anyone who has used just about any other camera, well, ever. Every Q menu button I’ve previously seen has been located on the back of the camera, so it will take a while before you instinctively reach for it there.
There is also a dedicated ISO button there, which I certainly approve of.
You’ll also note that instead of the traditional Fujifilm control scheme found the X-T series that leverages retro-style dials for ISO, shutter, and exposure compensation, Fuji has opted for a more generic set of controls. This includes a mode dial similar to what you would see in many cameras and then front and rear dials to control things like shutter, aperture, or exposure compensation.
This more standard scheme feels a lot less “Fuji”, but will probably also make the X-S20 feel more accessible to those unfamiliar with the Fuji way of doing things and will probably also serve to make the camera less intimidating to those photographers put off by the more analog approach Fuji has taken in the past. Everything works fine, however, and in many ways this is a better ergonomic setup than what is found on the Sony a6xxx series. There is one addition to the mode dial, and that is a dedicated VLOG position. The VLOG position takes you into a video mode, but with additional options available. This includes a self-timer (countdown to the start of the video), direct link to the Face/Eye detect settings, a “product priority” focus mode (rather than focusing solely on the face of the presenter it will prioritize a product when it enters the frame), IBIS control, High Speed recording options, and a “Background Defocus” mode (which sets the lens to the maximum aperture to create a more defocused background).
I still don’t like the shutter button as well as some of other Fuji lineups. The shutter is almost slightly recessed in the housing, which requires you to depress it by shaping your finger a bit. This will certain be exacerbated in cold weather when I’m wearing gloves. That same observation also applies to the video record button located by the shutter button, which is very small and sits flush with the top of camera. Both of these buttons would be more useful if they were raised a bit and easier to find by touch.
The rear of the camera has a small joystick that helps navigation and selecting a focus point along with the standard compliment of buttons that one would expect to find back there.
The left side of the camera has three ports in two compartments. The top port is a clean, compact microphone input slotted nice and high that can also be used as a remote shutter release port. A dialogue on the LCD screen smartly pops up when you plug into the port asking if you want to select something other than a microphone input (a remote release cable, for example). You can jump directly into those menu settings if desired, or it will go away in a few seconds if you don’t want to change anything.
The second compartment has a micro-HDMI port along with a USB-C multipurpose port. The USB-C port can be used either for data transfer or charging.
The top left side of the camera has a lever that will pop up the built-in flash, which has a 16.4′ (5 m) at ISO 100 guide number. Not particularly powerful, but useful in a pinch if you use it right. In most situations you’ll probably be better off avoiding using that flash, as it rarely produces flattering results. There’s a reason most pro cameras come without a built in flash.
There’s also a dial there that is set by default to toggling through various film simulations. This is a bigger deal on Fuji cameras than most other systems as they have more varied (and often better) simulations that can really give you a certain “look” for your JPEGs in camera. It’s particularly handy for those that prefer to shoot JPEG and not process RAWS, as the film emulation style doesn’t effect RAW images. You can change the function of that ring to a variety of other uses in the menu, however.
Like the X-S10, the X-S20 has Fuji’s In-Body-Image-Stabilization (IBIS). This is a hugely desirable feature, as it provides true sensor-based optical stabilization that works with all of your lenses. You can even input the focal length if you are using a manual focus or adapted lens and don’t have electronic contacts. The IBIS is more effective than on the X-S10, however, and is CIPA rated at 7 rather than 6 stops of assistance. I find IBIS an incredibly important feature for photography but even more for video capture. I forget how shaky handheld run and gun video footage is without IBIS!
Fuji has some of the best stabilization in the business and it is a genuine joy to use.
The viewfinder is a slightly undersized 0.39″ number with 2.36 million dots of resolution and a 0.62x magnification, so while LCD resolution was upgraded here we have the exact same viewfinder as before. It’s fine, but unexceptional, and I noticed a HUGE difference switching between it and the larger (0.5x), higher resolution (5.76m dot), and higher magnification (0.80x) viewfinder of the X-H2.
The X-S20 is compatible with Fuji’s new FAN-001 cooling fan accessory. This is an interesting concept, as it plugs into the body with the screen rotated out and actively cools the camera chassis to extend video recording time. You aren’t going to be able to close the screen with the FAN-001 attached (for obvious reasons), but it seems like a fairly intelligent solution to a common problem for those focused on long format video capture at higher bitrates and resolution levels.
Another new and interesting accessory that works well with the X-S20 is the TG-BT1 Tripod Grip. I’ve reviewed several such accessories in the past for other platforms, and they are very useful for Bluetooth control, extending your reach for vlogging, a quick tabletop tripod, and even for video capture where you have the major controls right at hand. It’s particularly useful if you have one of the powerzoom lenses (like the kit lens 15-45mm OIS PZ) as you can smoothly zoom in our out without grasping a ring of any kind. I really like the 18-120mm F4 OIS PZ for its superior build, great zoom range, and constant aperture (which helps when zooming through the focal range).
I like the X-S20 as a compact and yet feature rich camera for most of the same reasons that I liked the X-S10 before it. There are a lot of positive strengths here, but, outside of the transition to the bigger, better battery and the addition of an additional 3.5mm port for headphone monitoring, there isn’t much here to distinguish the X-S20 from the X-S10 in the overall design and handling despite the $300 price increase.
Fujifilm X-S20 Autofocus System
The Fujifilm X-S20 inherits the focus system we’ve seen on a number of Fuji cameras beginning with the X-T3. It’s a good AF system that is competitive on paper with alternatives from other brands, though with a few practical limitations where Fuji still lags. We’ve got a hybrid phase detect/contrast AF system, with 425 phase detect points that are selectable across the frame. Use the rear wheel to expand or contract the active focus/tracking area.
The improvements come under the hood of this focus system and are largely attached to improved processing via the faster X Processor 5 along with an improved autofocus algorithm that Fuji developed for higher end cameras like theX-H2S. Also improved is the AI learning that adds a variety of subjects that can be detected and automatically tracked, including: Animal, Bird, Automobile, Motorcycle & Bike, Airplane, and Train modes. In full Auto mode, the camera will attempt to recognize and apply the correct mode based on the subject in the frame, which is great except for the fact that I don’t want to shoot in “Auto” mode. Your mileage may vary, however.
The thumbstick can be used to move the focus point around, and, if enabled, you can also touch on the screen even with your eye on the viewfinder to do the same. What I find less intuitive, however, compared to Sony and Canon is that even if you have all points active, the focus system will still search for focus only in the active “box”, which you still have to move around…unless there is a trackable subject on the screen. It’s fine for the most part once a subject has been selected, but even when you expand the focus area to whole sensor tracking a smaller green box remains and you essentially have to get that green box on the subject before whole sensor tracking begins. At that point the focus will follow all across the frame, but it feels a bit like the old focus/recompose method of the past. I prefer the Canon/Sony approach where the autofocus system AI scans for the subject across the whole frame (if enabled), and you can then override the subject it selects if so desired, but I find that 90% of the time it grabs the right subject.
The AI tracking will also track insects, and, as I’ve recently become a beekeeper, this was an interesting addition for me.
Though on paper the focus system is largely the same as what I’ve seen for a while, there has been a significant improvement in the quality and consistency of focus. The focus algorithms have improved, and it also helps that recent Fuji lenses have a more sophisticated autofocus system in them. The AI learning has definitively improved as well, and I find that once the system is tracking, it has good stickiness and good visual feedback that helps inspire confidence that tracking is taking place. The focus system is capable of precision focus, however, even at F1.2:
If there is a trackable subject, autofocus works well. The eye precision is not as exact as some of the best cameras, but it works very well in general. I tested with both humans and also a sequence with Nala at a variety of focus distances and angles.
One of the key improvements here is improved buffer depth. That’s due to a faster processer (X Processor 5 mentioned before) and an upgrade to the memory card compatibility (UHS-II instead of just UHS-1 SD cards). The shutter burst rate is good, with 8 FPS available with the mechanical shutter but a jump up to 20 FPS available with the electronic shutter. One can even stretch that up to 30 FPS in their “sports mode” that has an additional 1.25x crop factor (smaller files can move through the pipeline faster). Here’s a look at the X-S20 figures (in bold) vs the X-S10 figures. UR = Uncompressed RAW. LR = Lossless Compressed RAW. CR = compressed RAW
Mechanical shutter (8 FPS): 35 UR | 90 LR | 1000+ JPEG or CR | X-S10 = 18 UR | 18 LR | 23CR | 105 JPEG
Electronic shutter (20 FPS): 28 UR | 44 LR | 79 CR | 256 JPEG | X-S10 = 17 UR, LR, or CR | 32 JPEG
20.9 MP Crop/Sports Mode (30 FPS): 28 UR | 62 LR | 88 CR | 407 JPEG | X-S10 = 17 UR, LR, or CR | 29 JPEG
What we see is not only more speed (typically twice as many frames at least) but also more versatility in buffer depth for different file depth. At 8 FPS you can shoot essentially endless JPEGs or Compact Raw, and the 90 Lossless Compressed RAW buffer means that you can have over 11 seconds of continuous image capture. The faster 20 FPS electronic shutter gives you less depth, obviously, though you still get as much as 4 seconds of continuous burst when shooting Compressed RAW and plenty of time if you choose JPEGs (the 256 vs 32 figure really jumps out). These figures definitely move the X-S20 towards the head of the class for this level of camera. Shooting a burst allowed me to catch this “bee’s dance” where one bee is taking off and another seems to be doing a headstand (shot with the Tamron 150-500mm):
Video autofocus is definitely improved, as we now have the ability to have similar AI tracking of the same variety of subjects during video capture, and I find autofocus when shooting video more confident in general. I tested video pulls with several lenses along with face tracking and found the results were mostly very good, though I did see a bit more stepping in some focus pulls than what I see with recent Canon or Sony cameras. Some of that comes down to the lenses, obviously, but I’ve also had the chance to test some lenses (like those from Viltrox and Tamron) in both Fuji X-mount and Sony E-mount, and autofocus pulls feel a little smoother and more confident on Sony bodies.
The X-S20 allows you to configure the shutter so that the camera will automatically switch between mechanical and electronic shutters depending on shutter speed. The mechanical shutter continues to have a budget camera 1/4000th shutter speed limit, but that’s easily overcome by the switch to electronic where the shutter speed limit is a whopping 1/32,000th of a second. Both of these figures are carryovers from the X-S10.
On paper, the focus system is largely the same as the X-S10, but real world performance is definitely improved. There’s more confident subject tracking, deeper buffers, and generally more reliable autofocus across the seven different lenses I used during my test period. Fuji isn’t quite at the level of Canon or Sony when it comes to autofocus performance, but the gap isn’t as big as it used to be, either.
Fujifilm X-S20 Video Performance
Video performance is another key area of improvement for the X-S20, furthering its credentials as a very good hybrid photo/video machine. We’ve already noted the physical improvements, which include the addition of a dedicated headphone monitoring jack and the cooling fan accessory to make sure that overheating is never a problem. But also improved is the resolution and bitrate options here. Whereas the X-S10 was capped at 4K30, the new X-S20 will let you shoot 6.2K30 and 4K60 in either UHD or DCI framing. Bitrates go as high as 4:2:2 10-bit internally up to 360Mbps (only 8 bit recording was available internally on the X-S10). Here’s a look at the various formats, resolutions, and bitrates available.
You can also choose slightly better than HD resolution DCI 2K framing (2048 x 1080) and get up to 240P in high speed recording mode. It is worth noting also that we no longer have a forced recording limit of 29:59 either; you are now only limiting by the size of your recording media or temperature. You have the ability to output either Apple ProRes RAW or Blackmagic RAW footage at 12 bit resolutions provided you have a suitable ATOMOS or Black Magic external recorder. The dinky micro-HDMI port doesn’t necessarily inspire confidence for serious external recording, however, though, to be fair, you have to skip the X-T5 and go right up to the X-H2 or X-H2S to get a full size HDMI port.
We’ve also got an upgrade to F-Log 2 and up to 14 stops of dynamic range on tap, and it’s worth nothing that all 19 of Fuji’s film simulations are available for video recording as well as photos. You have further options to tweak the look of footage in the menus to really get a look that you like even if you don’t want to spend time grading footage.
Another structural change is the addition of the headphone monitoring jack to the right side of the camera; a move clearly designed around video capture.
Fuji cameras in general produce very nice footage with good detail, excellent color, and, when shooting LOG, excellent dynamic range.
As mentioned earlier, there is a dedicated VLOG mode on the dial that gives you those options for when you are both creator and camera operator. Another really intriguing improvement is the ability to use the X-S20 as a dedicated webcam without the need for software. It’s as simple as connecting the X-S20 to the computer with a USB-C cable.
All of this adds up to a very versatile little video platform, and it seems from Fuji’s promotional materials to this point that they marketing the X-S20 as a creator/vlogger camera. I’ll note that using the TG-BT1 Tripod Grip adds versatility to the idea of this being a vlogger camera. It gets the camera another 8 inches away from you and gives you some handy controls on that grip along with a more ergonomic way to hold the camera.
Fujifilm X-S20 Sensor Performance
The 26.1Mpx X-Trans sensor in the X-S20 is a familiar one to me. This is now the fifth Fujifilm camera I’ve tested that uses this sensor (X-T3, X-T30, X-T4, X-S10, and now X-S20), so it is pretty familiar by this point. There isn’t really anything new The sensor was originally developed for the X-T3, where Fuji said of the X-T3’s sensor, “[with] a newly developed sensor, the X-T3 features an APS-C-format 26.1MP X-Trans CMOS 4 sensor, which has a back-illuminated design to afford smooth tonal rendering, improved low-light performance, and a low native ISO 160 setting. As an X-Trans sensor, it still utilizes the randomized pixel array, too, which provides a high degree of image quality and sharpness due to the omission of an optical low-pass filter. Versus conventional pixel patterns, the X-Trans design more closely mimics the organic nature of film in order to produce nuanced colors and tonal transitions, while also reducing moiré and aliasing.”
It used to be that this was the higher resolution point of the Fuji X lineup, with a more standard Bayer 24MP sensor used on some lower models, but now the X-H2 and the X-T5 utilize a much higher resolution 40MP sensor. This 26MP sensor is a good but not exceptional one. I’ve spent time with and reviewed most all of the competition, so, my quick conclusion is that this sensor is a competitive but not a clear winner in any category. The Sony 24Mpx sensor in many of its cameras has a bit more dynamic range and slightly better ISO performance. Canon has the resolution win with 33Mpx in its M6 Mark II. I’ve also not personally seen any area where I find X-Trans to be superior in some way to Fuji’s more traditional 24 MP Bayer sensors (like on the X-T200 that I recently reviewed). Fuji says that the X-Trans sensor produces a more film-grain-like noise pattern, but frankly this seems a little hyperbolic. I don’t really see it. Here’s a look at the various file sizes and framing options:
If you don’t want the technicalities, here’s a brief summation of the sensor performance. This sensor has a smaller native ISO range than the X-T5 or X-H2 at ISO 160-12,800 (those cameras have a base ISO of 125). Most competing camera from Sony or Canon have a larger ISO range that starts even lower at ISO 100. I like to charitably call this Fuji being conservative and avoiding the marketing extremes. I have found that Fuji competes well with, say, Sony, across its native range but Sony continues to have usable results after 12,800.
Likewise, Fuji’s sensors don’t quite have the same amount of dynamic range as competing Sony sensors (close to a stop less DR at base ISO), though the Fuji sensors are more competitive at higher ISO values. I found that shadow recovery is clean, but I start to see highlight clipping earlier on. Fuji does have a feature called DR200/DR400 that open up at higher ISO values (320/640) that will sample the highlight information from the base ISO while taking the midtone and shadow information from the selected ISO value. This does help the dynamic range to be more competitive.
I also find Fuji images a little more complex to sharpen, as the X-Trans sensors have a unique way of handling information.
But what the sensor does have is Fuji’s excellent color science. Many people love Fuji colors (myself included), and they include a number of their film emulations that can give a unique “feel” to images and/or video footage. I’m currently loving the Astia/Soft profile for a great look that works well on a wide variety of images. Fuji also has a fantastic JPEG engine, so if you just want to take photos and not spend a lot of time editing them to get the look you want, you may really enjoy the Fuji approach. Fuji also does a great job with in camera correction profiles, and so often the JPEG output looks even better than what the RAW images might suggest is possible. Note: as there are no changes to the sensor itself, the following are results given
ISO Performance
The native ISO range of Fuji’s 26Mpx X-Trans sensor is more limited than alternatives from Sony or Canon, running from ISO 160 to 12,800, with an expanded range going down to ISO 80 and moving up to 51,200 on the high end. I personally don’t ever use expanded ISO ranges and consider them more marketing than actually useful.. The native range is usable throughout, and even images ISO 12,800 are perfectly usable in many situations. Here’s a look at an image and crop of a guitar taken at ISO 12,800:
There’s some obvious noise at a pixel level, but the basic image is perfectly useful. Here’s another image at ISO 12,800 where I’ve used the Fuji ACROS + G monochrome simulation, and I would argue that the noise in this image is quite film-like and pleasing.
So how about at lower extremes? At ISO 800 there is a tiny addition of noise only detectable in the shadows. There isn’t a lot of difference from base ISO, however, and moving on to ISO 1600 shows little difference. At ISO 3200 there is slightly less contrast and slightly more noise, but still at a very acceptable level:
That pattern continues at ISO 6400 and 12,800, where the noise becomes rougher and more visible in shadow areas, with 6400 being cleaner than ISO 12,800.
You can go up into an “extended” range that gives you the 25,600 and 51,200 options. The first might be usable in non-critical situations, but few people will be happy with what ISO 51,200 is going to give you for any kind of application.
I will say that ISO 25,600 in particular does do a good job of “color fastness”. If we step back and look at the images on a global level, we can see that the sensor has done a good job of keeping a consistent color balance without color shift or color banding.
This is a solid ISO performance, and this is at least one area where the older 26MP sensor found in the X-S20 is going to deliver better results than the larger resolution 40MP sensor of the X-H2 or X-T5.
Dynamic Range Performance
I value dynamic range within a camera in two specific areas: the ability to cleanly lift shadows without introducing noise or color banding and the ability to recover highlights without introducing “hot spots” where information has been permanently lost. The value of good dynamic range is in the margins of photography, as eliminating shadows or recovering blown out highlights doesn’t always produce the better image. Having good dynamic range (particularly if you shoot RAW), allows you a lot more creative vision over how the final image will turn out (particularly with Adobe’s new AI tech for getting more information out of the sky). This shot, for example, has all of the rich detail in the shadows and colors of the trunk of the fallen tree and the moss on it, but also allowed me to recover the sky rather than just a blown out mess. This shot was taken with the new Fujinon XF 8mm F3.5, which is a very sweet little lens, by the way.
Fuji has an extra trick up its sleeve to help you maximize dynamic range performance in such scenes, which we’ll get to in just a moment.
In my tests, I found that the X-S20 did an excellent job of recovering shadows very cleanly. Here we have an image that I purposefully underexposed by four stops. As you can see in the original RAW image, there is very little information left there. In post I added those four stops back into the recovered image. What we find is an image that has been recovered with very little penalty. Contrast looks good and the image is nice and bright.
Here’s a look at that same image at a pixel level. We see little additional noise, no banding or discoloration, and a nice restoration of contrast to the image.
As is often the case, however, highlight recovery lags behind shadow recovery. While a 2 stop highlight recovery is nice and clean, by 3 stops the recovered image is not natural looking at all:
Moving beyond that is obviously a fools errand. But Fuji does have a nice workaround if you want more dynamic range. If you move beyond the base ISO to either ISO 320 or 640 (and beyond), two new options open up in the menu. These are DR200 and DR400. What these do is essentially split the sensor readout so that the shadow information is gathered from the current ISO setting while the highlight information comes from base ISO. At ISO 320 that gives you one additional stop in the highlights, while at ISO 640 you gain two. This allows you to overexpose the image slightly so that you have plenty of information in the shadows, but since there is one or two stops less exposure in the highlights, you have plenty of ability to recover blown out areas in post. A three stop highlight recovery using DR200 looks just fine:
I can go even further using DR400. Here’s a four stop overexposure (look how blown out the image is on the left), and how cleanly it recovers using DR400:
I certainly will often utilize this for landscape images when I’m shooting Fuji. My priority was exposing for the interesting textures of the little barn in this shot, but rather than a white, blown out sky, I was able to recover something interesting in the sky to add to the image.
I personally enable DR400 in camera, and then it is ready if I have to raise the ISO level (either intentionally or not). Dynamic range naturally diminishes as the ISO raises anyway, so it can be a way of getting better results when the ISO is up. That’s not to say that you should shoot this way all the time, as often retaining contrast and either crushed shadows or blown out highlights makes for a better photograph, but having this technique available to improve dynamic range certainly has its uses…just don’t go too crazy on those sliders!!
X-S20 Color
Color science is the one area where there is a fair amount of consensus on Fuji. It’s definitely something that Fuji does well, and I think it’s true both on the camera sensor side and in their optical glass. Fuji color tends to be really nice, with good saturation levels and a pleasing transition of color tones. I shot this image of a still lake with the 8mm F3.5 and the X-S20, and I think the colors look lovely.
Likewise a standard shot of the woods, where the greens look really rich but without feeling garish:
Fuji is also well known for their in-camera film simulations and excellent JPEG engines, and I know there are a lot of people who choose Fuji for this reason. They don’t want to mess with post processing and just want to be able to get great photos right out of camera. If you do shoot RAW files, however, it is easy to choose those same film simulations in your editing software (I primarily use Adobe products, myself). Here’s an example from the X-T4 shown first with Adobe’s Landscape profile.
Now Astia (Soft)
Now Classic Chrome
Provia
Velvia
Eterna (Cinema)
Classic Chrome is little less saturated but often has a tasteful look to it. I find Velvia (which is Vivid) is often too intense for me, but can be great for landscapes. Provia is the Standard, and it is fairly neutral. Astia is “Soft”, and it’s another one I like. Your mileage may vary, and what I like for one type of image is not necessarily what I like for another. Velvia is terrible for portraits but often works fine for landscapes, for example.
I also enjoy the monochrome film simulations and also the ability to go into the menus and tweak the look in several ways. For example, if I select Acros, I’ve got the added ability to select whether to apply a Yellow Filter (more contrast, darker skies), Red (slightly more extreme of yellow), or Green (for better skin tones). There is also an option to warm or cool the monochrome image in camera. You can move to near-sepia on the warm side and near-selenium on the cool side. This shot of a coiled rope looks great in Acros + R (red filter):
You can also control grain (if that’s your thing) in camera as well. Bottom line is that color science and the ability to manipulate color in camera remains a great strength for Fuji cameras…and you can utilize that same color science in video as well.
I really liked the fusion of X-T series features in a smaller, cheaper, more accessible package when the X-S10 was launched. That continues to be the lane that X-S20 operates in, though it seems like Fuji is pushing the video side of things in the X-S20. That stands to reason, as there are more tangible improvements available on the video side of things in the X-S20, from the improved video options (resolutions, bitrates, formats) to accessories like the grip and cooling fan. The main physical addition is a headphone monitoring jack, and while photographers will also benefit from the much larger battery, it will impact video shooters arguably even more. Even the inclusion of the VLOG option on the mode dial and the options that it opens up are obvious attempts to market this camera to a new audience. If you happen to be in this audience, the Fujifilm X-S20 should be a very compelling potential camera for you.
There are fewer innovations on the stills side of things, though the improved autofocus is welcome as well as the improvements to battery life and IBIS. Owners of the existing X-S10 who primarily shoot photos might not feel any great urgency to upgrade, however, as this is the same sensor, largely the same body, and mostly the same autofocus system as what is found in the X-S10…and with a significant price increase.
I’ve enjoyed using the X-S20, though the viewfinder feels a little constricting at this point and I’ll never be a fan of a memory card slot located in the battery compartment. There’s less of a price divide between the X-S20 and the more robust X-T5 than there was between the X-S10 and the X-T4, though perhaps not everyone is interested in moving to the higher resolution point of the X-T5. But you can get a used X-T4 for a few bucks less than the X-S20, which may cause a little bit of frustration for those looking for a clear upgrade path. I’m always glad to see choices on the market, and, while I don’t find the X-S20 as compelling based on the market as I did the X-S10, it is a nice evolutionary upgrade over what was already a very nice camera. Decisions, decisions…
Keywords: Fujifilm, X-S20, FujiFILM X-S20, X-S20Review, X-T5, Fuji X-H2, Fuji X-S20 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, IBIS, Stabilization, Eye AF, 100-400mm, 8mm F3.5, 18-120mm F4, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 26MP, 26 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA
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The Fujifilm X-S10 was one of my favorite Fuji cameras of the previous generation. I gave it a positive review when it was released roughly 2.5 years ago as I liked the balance of bringing some of the best features of the X-T series into a smaller, cheaper package. A lot of Fuji cameras occupy the premium end of the APS-C space, and the X-S10 provided a strong camera at the roughly $1000 USD price point that largely had superior specs to alternatives from other brands. The Fujifilm X-S20 is the successor to the X-S10, and, as always, there’s some pros and cons. On the plus side, there are a number of core improvements (particularly on the video side), but, in the negative column there is a jump in price from the $1000 range up to $1300. There was nearly a $700 gap between the X-S10 and the X-T4; the gap between the X-S20 and the X-T5 is only $400, which will certainly leave a few buyers strongly considering that camera instead.
The X-T5 received the higher resolution sensor of the X-H2 (40.2 MP) while the X-S20 carries on with the older 26MP X-Trans BSI-CMOS sensor found in a number of other Fuji cameras. This might be part of Fuji’s market strategy, however, as not everyone needs (or wants) the higher resolution point.
The X-S10 was a bit more revolutionary than the X-S20 as it was the first of Fuji’s lower priced models to get features like IBIS (In Body Image Stabilization), the 26MP X-Trans sensor, faster burst rates, and a fully articulating LCD screen. The X-S20 is more evolutionary than revolutionary with more subtle improvements. A lot of the core features remain the same:
26.1MP BSI X-Trans IV CMOS sensor
ISO 160 to 12800 (80 to 51200 extended)
Hybrid AF system (117 contrast / 425 Phase Detect points)
Up to 20fps continuous shooting with electronic shutter (30fps with 1.25x crop)
1/4000th second max. shutter speed (1/32,000th using the electronic shutter)
0.39-in OLED EVF with 0.62x magnification, 100Hz
Similar Dimensions (the X-S20 is 1.7mm wider and 26g heavier)
Single SD card slot
Key improvements include:
Larger NP-W235 battery (from higher end models) that nearly doubles shots and video record time
Deep AI learning autofocus tracking (similar to X-T5 and X-H2)
Newer/faster X-Processor 5
Slightly improved IBIS
Up to 6.2K video and 4K60 options
Improved LCD resolution
Card slot now supports UHS-II
Deeper buffer
Can be used as a webcam via the USB-C port
When you add all of these up it equals an improved camera in a number of key areas, but there really isn’t a lot of new features that jump off the page. This is a pretty common trend in camera development, in my experience, as while some generations really push the envelope for new features, the next generation is often where those features are refined and the camera matures. In short, it’s in that second generation that things start to work as they should! The challenge here is that Fuji has elected to do a significant price increase on the cycle where there isn’t a lot of headline new features or upgrades. Will that present a marketing challenge? Will the X-S20 be as successful at $1300 as the X-S10 was at $1000? That remains to be seen.
For those that want a smaller, lighter, simpler camera that has many similar features to the higher end Fujifilm X-T5 (my review here), the X-S20 offers a compelling package. It has solid autofocus, competitive buffer depth, long lasting battery life, and very good image quality. It also happens to be quite a little video powerhouse, as we’ll see. It also comes at a great time for the Fuji ecosystem, as Fuji’s opening up to third party lenses has opened a floodgate of new development from Sigma, Tamron, Samyang, Viltrox, and more. I’ll use a few of those new lenses in this review, including the Tamron 11-20mm F2.8 RXD and the Viltrox Pro AF 75mm F1.2. I’ve also got some interesting new lenses on hand from Fuji, including the new XF 8mm F3.5 wide angle lens and the XF 18-120mm F4. I’ll also throw in a few shots from the extremely inexpensive XC 15-45mm F3.5-5.6 OIS PZ kit lens. The question to be answered is if the X-S20 ends up feeling “worth the money” relative to Fuji’s alternative offerings. You can get my thoughts by watching my definitive video review or reading my text review…or just enjoy the photos below.
Thanks to Fujifilm Canada for sending me a review sample of the X-S20 and some lenses. As always, this is a completely independent review. All conclusions are my own.
Keywords: Fujifilm, X-S20, FujiFILM X-S20, X-S20Review, X-T5, Fuji X-H2, Fuji X-S20 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, IBIS, Stabilization, Eye AF, 100-400mm, 8mm F3.5, 18-120mm F4, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 26MP, 26 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
One of the biggest advantages for APS-C is the ability to have large aperture prime lenses that are still compact and lightweight. The Fujinon XF 33mm F1.4 R LM WR weighs only 360g while boasting an extremely nice build quality, great weather sealing, good autofocus, and having the nice color rendition that Fuji optical glass provides. It was announced in September 2021, and, being a newer lens, has Fuji’s updated focus design that makes it more versatile for things like video. The XF 33mm offers a full frame 50mm equivalent angle of view (normal), and as such is going to be an indispensable addition to many photographer’s kit. This is an easy lens to produce lovely photos with.
The single greatest challenge for the XF 33mm is not some flaw of its own but rather the fact that there are two other XF mount 33mm F1.4 lenses to choose from: the Viltrox 33mm F1.4 at under $300 and the Tokina atx-m 33mm F1.4 at $350. The Fuji XF 33mm comes in at a much more premium $800 price point. I haven’t spent time with the Tokina, but I did review the Viltrox and found it to be fairly strong lens. The Fuji is the more mature, nuanced lens, but it will face a bit of a value question by comparison.
That’s a financial decision, obviously, but I will say that this has been one of my favorite Fuji primes that I’ve reviewed thus far. The lens offers nice colors, a decent magnification ratio that bests the other two alternatives, pleasant bokeh, and good sharpness.
Follow Me @ YouTube | Patreon | Instagram | Facebook | DA Merchandise | Flickr | 500pxThanks to Fujifilm Canada for loaning me the X-H2 and lenses for this review. As always, this is a completely independent review and my conclusions are my own.
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DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
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