The Complete Guide to Fujifilm's X-t2
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About this ebook
If you’re uncertain in any way about even one thing your XT2 does, then save time and money and grab this book. This is EVERYTHING X-T2 explained in easy to understand language! It is the Manual on Steroids and much more…
This full-color ebook:
* Covers every mode, menu, button, function, and socket.
* Explains the new Flash modes, including wireless flash.
* Includes all my camera settings and an explanation of why on earth I do it that way.
* Covers every essential of shooting – like: ISO, Focus, WB, Metering, flash modes – and the more esoteric ones too.
* Explains how and why to customize all the buttons and menus.
* Has a great tutorial to help you master the ins and outs of RAW.
* Explains why all glass (Fuji lenses) are not born equal.
* Includes a 22 page Condensed Guide to the Basics of modern digital photography.
Valuable bonuses are included as well!
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The Complete Guide to Fujifilm's X-t2 - Tony Phillips
The Complete Guide To Fujifilm’s X-T2
Professional Insights for the Experienced Photographer
by
Tony Phillips
Version 1.2
Covering Firmware v1.10
ISBN 978-1-365-72138-0
Published by The Friedman Archives Press
Copyright © 2016, 2017 Tony Phillips. All rights reserved. No portion of this book may be reproduced either in print or in any digital format without express written permission. Contact the author at info@TonyPhillips.org
For Those Who Bought the Printed or E-reader Editions
There are a LOT of demonstrative illustrations in this book that kind of lose their effectiveness when converted to black-and-white. And some are difficult to see on e-book reader screens like the original Kindle.
And so to offset these problems I’m offering a free, full-color, instantly- downloadable .pdf file of this eBook to all customers who bought printed books (be they color or black-and-white), or who purchased this work through the Amazon Kindle, Apple, Barnes and Noble, or any other e-reader store. (The original .pdf file really does offer a superior user experience. Think of it as the director’s cut
regarding how the author intended the work to be seen.)
To get your free .pdf file, just email (info@FriedmanArchives.com). Attach the receipt of the book you bought (if you didn’t buy it from the FriedmanArchivesPress.com website, then Friedman Archives does not have your customer information), and we’ll send you a download link.
Gratitude
I would like to thank the following for their valuable contributions to the quality of this undertaking:
Justin Moriarty, Fujifilm Australia, David Yeiter
And further thanks to my models, Jayne, Levi, Beth, Ben, Sarah, Sarah, Lincoln, Steven, Sophie, Serena, Mariah, Raylee and Steve.
Simply saying thank you isn’t enough. But I want to thank my wife Lorna for her enormous support. By now, she could surely write a book titled: Chasing a Shutterbug
The Author
E:\Desktop\Pics\Family\SOURCE\07 Rear thru Canopy.jpgE:\Desktop\Sony a57\Pics\zz My Pics for inclusion in book\LA\PA150926mTONY.jpgTony is an author, photographer, pilot, teacher, and lecturer, and has a long-standing passion for photography. To date he has 9 published books on photography. Five on Fujifilm X cameras and lighting. He is recommended by MirrorLessons as one of 6 Authors of Mirrorless Camera Manuals Whose Books You’ll Actually Enjoy Reading. His book on the X-Pro2 was headlined in Fujifilm’s blog as The Most Comprehensive Guide on the X-Pro2
. He conducts photographic seminars on the fundamentals of digital photography through to advanced lighting.
Anyone can learn to take great pictures if they have the desire.
And, it is not so much the equipment (though it is important), as the person, that makes those pictures great.
Tony is widely travelled, a businessman and entrepreneur. He spends much of his time writing, teaching, travelling, lecturing, and hunting great images.
Visit www.TonyPhillips.org to learn more. Or email Tony at: info@tonyphillips.org .
Tony’s YouTube Channel:
www.youtube.com/c/TonyPhillipsPhoto
Some of Tony’s other photography books.
A Big Thank You
To thank you for buying this book, I’m offering a free PDF copy of the 132 page eBook Mastering Flash with Fujifilm X Cameras – usually a $9.95 value.
Mastering Flash is designed to do just that. To help you Master Fuji flash with confidence! It’s Lighting 101 for Fujifilm – including making manual flash a breeze.
Jump to Section 14.7 to see contents and details on grabbing your copy.
I’ll also send you an .xls spreadsheet listing all the X-T2’s settings with brief explanations, my own personal settings, section references to further info in this book, and a column to note your own settings.
(Note: The bonus book doesn’t cover Fujifilm’s new wireless flash system.)
This Book
In this book I make the assumption that you’re an experienced photographer, and don’t need tutorials on downloading images, the basics of ISO, f/stops, shutter speeds, or light and composition (I do include an appendix on this for reference however). Nor do I delve into the software that came with your camera, or cover PC based image editing.
While many of the explanations for the X-T2’s features and functions are tutorial in nature with plenty of examples and tips, about half of this book is reference – allowing you to dip into every function and menu feature at your leisure.
V1.1 of this book was written for X-T2 Firmware version 1.10
Table of Contents
For Those Who Bought the Printed or E-reader Editions
Gratitude
The Author
A Big Thank You
This Book
Table of Contents
Chapter 1 Keynote Features
1.1
The Sensor
1.1.1 Megapixels
1.1.2 Phase Detect AF
1.1.3 No Optical Low Pass Filter!
1.1.4 Micro-lenses
1.2
The X Processor Pro
1.2.1 Upgraded JPEG Processing
1.2.2 Speed
1.2.3 Boost Mode
1.2.4 14-bit RAW
1.3
World’s Best Electronic Viewfinder
1.4
Focusing
1.4.1 Autofocus
1.4.2 Focus Tracking & AF-C Custom Presets
1.4.3 Focus Zoom
1.4.4 Manual Focusing aids – MF Assist
1.4.5 Joystick & the AF Area – The Focus Lever
1.5
Fuji Flash Comes of Age
1.5.1 Bump in Max Flash Sync Speed
1.5.2 On-Camera Flash
1.5.3 Wireless Flash
1.6
Huge Bump in Video Modes/Quality
1.7
3D Articulating LCD
Chapter 2 Other Significant Features
2.1
Customization
2.1.1 The Q
Button
2.1.2 Function Buttons
2.1.3 MY Menu – Customize your own menu!
2.1.4 Other Customisations
2.2
Shooting Modes - DRIVE
2.3
Inbuilt Films - Film Simulations
2.4
Camera Effects - Advanced Filters
2.5
Panorama
2.6
Multiple Exposures
2.7
High-Speed Shooting
2.8
Hybrid Shutter
2.9
Memory Cards - 2 Cards & Fast
2.9.1 Store More Frames
2.9.2 Dual Memory cards
2.10
Wireless – Wi-Fi
2.11
LMO - Lens Modulation Optimization
2.12
Styling, Build, Dials, Buttons
2.13
Additional Features
2.14
Some Nutshell!
Chapter 3 Essential Configuration
3.1
Essential Configuration
3.2
Customizing Camera Functions
3.2.1 Customizing the Fn Buttons
3.2.2 The Q-Menu
3.2.3 Deciding What to Assign and Where
3.2.4 Select Custom Setting (BASE…)
3.2.5 The MY Menu
3.3
Working with the Displays
3.3.1 Which Display?
3.3.2 Display Views
3.3.3 Configuring The Custom Display
3.4
Shooting Style Ideas
3.5
My Personal Camera Settings
3.5.1 Shooting Menu Settings
3.5.2 Setup Menu Settings
3.5.3 Playback Menu Settings
3.5.4 Drive Dial Settings
Chapter 4 Quick Start Guide
4.1
Focusing Essentials
4.1.1 How does the camera know what to focus on?
4.1.2 Single AF / Continuous AF Focusing Modes
4.1.3 Instant AF
4.1.4 AF Trick for Portraits
4.2
Shooting Modes - P-A-S-M
4.3
Panorama Essentials
4.4
Movie Essentials
4.5
Playback Essentials
4.5.1 Look At It This way - The Display Button
4.5.2 EXIF Image Information
4.5.3 Movie Playback Views
4.5.4 Panorama Playback
4.5.5 Magnifying the image
4.5.6 Thumbnail Views – Multi-Frame Playback
4.5.7 Image Deletion
4.5.8 Protecting an image or Movie
4.5.9 Viewing images on an HDTV
4.5.10 Slide Show
4.6
Power Essentials
4.6.1 Saving Power
4.6.2 Batteries
4.7
RAW Restrictions
4.7.1 RAW Function Button - Caveats
Chapter 5 Shooting Essentials
5.1
ISO Essentials
5.1.1 High ISO Noise Levels
5.1.2 AUTO ISO
5.1.3 L100 ISO
5.1.4 H(25600) and H(51200) ISO
5.1.5 Auto ISO in Manual Exposure Mode
5.1.6 ISO Bracketing
5.1.7 ISO-Less Sensor
5.2
White Balance (WB)
5.2.1 Auto White Balance and Pre-Set White Balance
5.2.2 WB Shift - Fine Tuning the 7 WB PreSets
5.2.3 Color Temperature – Kelvin
5.2.4 Custom White Balance
5.3
Autofocus Options - AF Modes
5.3.1 Single Point
5.3.2 Zone
5.3.3 Wide/Tracking
5.3.4 AF-C Custom Settings
5.4
Metering (Photometry)
5.4.1 Multi (Multiple Zone Metering)
5.4.2 Spot Metering
5.4.3 Center Weighted Metering
5.4.4 Average Metering
5.5
Flash Essentials – A Lot Has Changed
5.5.1 Flash Control Modes
5.5.2 (TTL) Flash Modes
5.5.3 Flash Sync - Modes
5.5.4 Flash Compensation – TTL Flash
5.5.5 Flash Power – Manual Flash
5.5.6 Flash Types
5.5.7 Flash and Red-Eye Removal
5.5.8 Modeling Flash
Chapter 6 Film Sims and Filters
6.1
Film Simulation
6.1.1 Classic Chrome Film Simulation
6.1.2 Shooting In B&W
6.1.3 Acros Film Sim
6.2
Upgraded Algorithms
6.3
Tweaking the Tweaks
6.3.1 Grain Effect
6.3.2 Tone Curves
6.3.3 Combining Tone Settings
6.3.4 Noise Reduction (NR)
6.3.5 Other Ways to Reduce Noise
6.3.6 Color
6.3.7 Sharpness
6.3.8 Dynamic Range (DR)
6.3.9 Image Size (L 3:2)
6.3.10 Image Quality
6.4
Combining Sims and Settings
6.4.1 Cool Pastel
6.4.2 High Contrast Monochrome
6.4.3 Other Films
– Tweaking Suggestions
6.5
Advanced Filters
6.5.1 Toy Camera
6.5.2 Miniature Mode
6.5.3 Pop Color
6.5.4 High-Key
6.5.5 Low-Key
6.5.6 Dynamic Tone
6.5.7 Soft Focus
6.5.8 Partial Color
6.5.9 Advanced Filter Restrictions
Chapter 7 Wi-Fi, Wireless & Instax
7.1
Wi-Fi Remote Control
7.2
View / Transfer Images to a Device
7.3
Instax Printing
7.3.1 Pairing with an Instax PRinter
7.4
GPS GeoTagging
7.4.1 Geotagging Set-Up
7.4.2 Uploading Location Data to your Camera
7.4.3 Viewing Location Data in Playback
7.4.4 Alternatives for Geotagging
7.5
PC Auto Save
7.5.1 Setting up the Connection
7.5.2 Saving Images / Movies to your Computer
Chapter 8 Drive Modes
8.1
Movie
8.2
Bracketing
8.2.1 AE Bracket (Automatic Exposure)
8.2.2 ISO Bracket
8.2.3 Film Simulation Bracket
8.2.4 White Balance Bracket (WB)
8.2.5 Dynamic Range Bracket (DR)
8.3
Continuous Low / High (Burst)
8.4
Single Frame
8.5
Multiple Exposures
8.6
Advanced Filter
8.7
Panorama
8.7.1 Panorama Exposure
Chapter 9 The Playback Menu
9.1
Switch Slot
9.2
Raw Conversion
9.3
Erase
9.4
Crop
9.5
Resize
9.6
Protect
9.7
Image Rotate
9.8
Red Eye Removal
9.9
Copy
9.10
Wireless Communication
9.11
Slide Show
9.12
Photobook Assist
9.13
PC Auto Save
9.14
Print Order (DPOF)
9.14.1 Printing the Date on the Image
9.14.2 Removing DPOF selection and Resetting All (Unmark All)
9.15
Instax Printer Print
9.16
Display Aspect Ratio (Disp. Aspect)
Chapter 10 The Shooting Menus
10.1
Image Quality Setting
10.1.1 Image Size
10.1.2 Image Quality
10.1.3 Raw Recording
10.1.4 Film Simulation
10.1.5 Grain Effect
10.1.6 Dynamic Range
10.1.7 White Balance (WB)
10.1.8 Highlight Tone
10.1.9 Shadow Tone
10.1.10 Color
10.1.11 Sharpness
10.1.12 Noise Reduction
10.1.13 Long Exposure NR (Noise Reduction)
10.1.14 Lens Modulation Optimizer
10.1.15 Color Space
10.1.16 Pixel Mapping
10.1.17 Select Custom Setting (C1-C7 presets)
10.1.18 Edit/Save Custom Setting (C1-C7 Presets)
10.2
AF/MF Setting
10.2.1 Focus Area
10.2.2 AF Mode
10.2.3 AF-C Custom Settings
10.2.4 AF Point Display
10.2.5 Number of Focus Points
10.2.6 Pre-AF
10.2.7 AF Illuminator
10.2.8 Face/Eye Detection Setting
10.2.9 AF+MF
10.2.10 MF Assist
10.2.11 Focus Check
10.2.12 Interlock Spot AE & Focus Area
10.2.13 Instant AF Setting
10.2.14 Depth-Of-Field Scale
10.2.15 Release/Focus Priority – AF-S & AF-C
10.3
Shooting Setting
10.3.1 Drive Setting
10.3.2 Self-Timer
10.3.3 Interval Timer Shooting
10.3.4 Shutter Type
10.3.5 IS Mode
10.3.6 ISO Auto Setting
10.3.7 Mount Adaptor Setting
10.3.8 Wireless Communication
10.4
Flash Setting
10.4.1 Flash Function Setting
10.4.2 Red Eye Removal
10.4.3 TTL-Lock Mode
10.4.4 LED Light Setting
10.4.5 Master Setting
10.4.6 CH Setting (Channel Setting)
10.5
Movie Setting
10.5.1 Movie Mode
10.5.2 Movie AF Mode
10.5.3 HDMI Output Info Display
10.5.4 4K Movie Output
10.5.5 HDMI Rec Control
10.5.6 Mic Level Adjustment
10.6
MY menu
Chapter 11 The Setup Menu
11.1
User Setting
11.1.1 Format
11.1.2 Date/Time
11.1.3 Time Difference
11.1.4 Language
11.1.5 My Menu Setting
11.1.6 Sensor Cleaning
11.1.7 Reset
11.2
Sound Set-Up
11.2.1 AF Beep Volume
11.2.2 Self-Timer Beep Volume
11.2.3 Operational Vol. (Volume)
11.2.4 Headphones Volume
11.2.5 Shutter Volume
11.2.6 Shutter Sound
11.2.7 Playback Volume
11.3
Screen Set-Up
11.3.1 EVF Brightness
11.3.2 EVF Color
11.3.3 LCD Brightness
11.3.4 LCD Color
11.3.5 Image Display
11.3.6 EVF Autorotate Displays
11.3.7 Preview Exposure & WB In Manual Mode
11.3.8 Preview Pic Effect
11.3.9 Framing Guideline
11.3.10 AutoRotate PB (Playback)
11.3.11 Focus Scale Units
11.3.12 Display Custom Setting
11.4
Button/Dial Setting
11.4.1 Focus Lever Setting
11.4.2 Edit/Save Quick Menu
11.4.3 Fn/AE-L/AF-L Function Button Setting
11.4.4 Selector Button Setting
11.4.5 Command Dial Setting
11.4.6 ISO Dial Setting (H)
11.4.7 Shutter AF (Back Button Focus)
11.4.8 Shutter AE
11.4.9 Shoot Without Lens
11.4.10 Focus Ring
11.4.11 AE/AF-Lock Mode
11.4.12 Aperture Setting
11.4.13 Lock
11.5
Power Management
11.5.1 Auto Power Off
11.5.2 Performance
11.6
Save Data Setting
11.6.1 Frame No. (Frame Number)
11.6.2 Save Org Image
11.6.3 Edit File Name
11.6.4 Card Slot Setting (Still Image)
11.6.5 Switch Slot (Sequential)
11.6.6 Movie File Destination
11.7
Connection Setting
11.7.1 Wireless Settings
11.7.2 PC Auto Save Setting
11.7.3 GeoTagging Set-Up
11.7.4 Instax Printer Connection Setting
11.7.5 PC Shoot Mode
Chapter 12 Exterior Buttons Uses & Settings
12.1
Primary Exposure Controls
12.1.1 Program Shift
12.2
Aperture Ring
12.3
Shutter Speed Dial
12.3.1 Flash Sync Speed (250X)
12.3.2 TIME
12.3.3 BULB
12.4
ISO Dial (Sensitivity Dial)
12.5
Exposure Compensation Dial
12.6
Manual Exposure Mode
12.7
Focus Mode Selector
12.7.1 AF-S (Single-AF)
12.7.2 AF-C (continuous AF)
12.7.3 MF (Manual Focus)
12.8
Sync Terminal (PC Sync)
12.9
Mic, USB, Remote Release HDMI
12.9.1 Microphone Jack
12.9.2 HDMI
12.9.3 USB
12.9.4 Remote Release Connector
12.10
DRIVE Dial
12.11
Delete Button (TrashCan)
12.12
Playback Button
12.13
Viewfinder Eyepiece Diopter Adjustment
12.14
View Mode and the Eye Sensor
12.15
Metering Dial (Photometry)
12.16
AE-L Button
12.17
AF-L Button
12.17.1 AF Lock Only
12.17.2 AE/AF Lock
12.17.3 AF-On
12.17.4 Instant AF
12.18
Front & Rear Command Dials
12.19
Focus Assist
12.20
Joystick – Focus Stick / Lever
12.21
Q Button
12.22
DISP/BACK Button
12.23
Fn Buttons
12.24
Film Plane Marker
12.25
Indicator Lamp
12.26
Other Controls
12.27
Battery Grip (Vertical Power Booster Grip)
Chapter 13 Movie Mode
13.1
Executive Summary
13.1.1 Playing Movies on the LCD
13.1.2 Uploading Movies
13.2
To 4K or not 4K
13.2.1 What is 4K?
13.2.2 To F-Log or Not F-Log
13.3
Focusing in Movies
13.4
Controlling Movie Exposure
13.4.1 Automatic Exposure for Movies
13.4.2 Aperture Exposure for Movies
13.4.3 Shutter Exposure for Movies
13.4.4 Manual Exposure for Movies
13.5
Other Movie Options
13.5.1 Metering for Movies
13.5.2 Movie Framerate
13.5.3 Movie Length
13.5.4 Battery Grip for Movies
13.5.5 Lenses And Movie Making
13.5.6 WB – White Balance in Movies
13.5.7 Film Simulation
13.6
Recording Audio & Microphones
13.6.1 Mic Level Adjustment
13.7
Movie Files
13.8
Importing Movies (and Stills)
13.8.1 Using Your File Explorer
13.8.2 Uploading Movies with PC AutoSave
13.8.3 Importing Movies With MyFinePix Studio
13.9
Editing your Footage
Chapter 14 Lighting - Using Flash
14.1
Flash Models
14.1.1 Fujifilm Accessory Flash Models
14.1.2 Third Party Manual Flash Models
14.1.3 Third Party TTL Flash Models
14.2
TTL vs Manual Flash
14.3
TTL Flash
14.3.1 Flash Compensation
14.4
Manual Flash Mode
14.5
Getting flash off-camera
14.5.2 Manual Commander IR Wireless
14.5.3 Manual Wireless Radio Triggering
14.5.4 TTL - Fly by Wire – Cables
14.5.5 TTL – Fujifilm’s Optical wireless system
14.5.6 TTL – Radio Re-Encoding Triggering
14.6
FP High Speed Sync
14.6.1 HSS benefits
14.6.2 Flash Power
14.6.3 Shooting HSS
14.7
Mastering Flash - Go Further with Lighting
Chapter 15 Lens Considerations
15.1
Fast
Glass
15.5
XF vs XC Lenses
15.5
Fixed-Focal Length Prime Lenses
15.1
OIS – Optical Image Stabilization
15.2
Teleconverter
15.3
Adapting Lenses
15.3.1 M-Mount
15.3.2 Using Modern Existing Glass
15.3.3 Adapting Legacy Glass
15.4
Hankering for an X100T?
15.5
Lens Modulation Optimizer
Chapter 16 Digital Imaging Topics
16.5
An Introduction to RAW
16.6
How Cameras Create JPEGs
16.7
Image File Types - RAW, TIF, JPG
16.8
JPG Artifacts
16.9
Shooting JPEGs
16.10
RAW Processing
16.10.1 RAW Conversion
16.10.2 Noise Reduction
16.10.3 Sharpness
16.10.4 Software Options
16.10.5 So what’s all that mean?
16.11
Image Resolution - viewing & Printing
16.12
Tone Curves
16.12.1 S-Curve – Adds Contrast
16.12.2 Reverse S-Curve – Removes Contrast
16.12.3 Brightening Curve
16.12.4 Darkening Curve
Epilogue
Appendix A Additional Resources
A.1
Internet Resources
A.2
Tony’s Books
A.3
Publisher Offerings Of Interest
A.3.1 25 Ways to Wow!
e-Booklet
A.3.2 Advanced Topics 2
A.3.3 Books on Other Cameras
A.4
Cameracraft Magazine
A.5
Ways to ‘Wow!’ with Wireless Flash
A.6
High-Impact Photography Seminars
Appendix B Condensed Guide to the Basics
B.1
Shutter Speed
B.2
Aperture (F/Stops)
B.3
ISO
B.4
Exposure Variables – The Tradeoffs
B.5
Program Shift
B.6
The Histogram
B.6.1 Brightness
B.6.2 The Histogram Exposed
B.7
The Secrets
to Outstanding Images
B.7.1 Light
B.7.2 Composition
When Fujifilm released the X-T1, it came as a surprise to many of us. It seemed like a beefed-up X-E2, or a stripped down X-Pro 2 (if it had existed). But it hit a sweet-spot in the market and hearts of many photographers.
The release of the X-T2 is completely different. We all expected it of course. We even expected it to have the specs it does. But what wasn’t immediately apparent, was that Fujifilm were realigning their marketing approach - and instead of the X-Pro series being their single top-end camera, they opted to have two lead horses in the race. The Pro
, or P
series for those who want an optical viewfinder and rangefinder-esque shooting experience, and the T
series for the ultimate in SLR-style shooting.
You’ve elected to shoot SLR style.
Indeed, on the face of it, the X-T2 looks to have come straight through a time-warp from an SLR factory in the 70’s. But looks are where the similarity ends. I mean, apart from loading film and pressing the shutter button, my 70’s Ashai (Pentax) K2 and ME Super only have five or six adjustments you can make – and that includes focusing!
Not so with the X-T2. It’s SLR-styled body is covered in controls, and the computer which drives it, responds to a considerable range of adjustments and settings to allow you to make images which suit your creative drive.
Obviously, we all want to wring every last drop out of our equipment. Yet our modern cameras are quite complex little critters. They really are small hand-held computers with glass, knobs, dials and buttons that have many functions, and functions buried within functions. What do they it all do?
That’s what this book is about. In these pages, I delve into all the camera’s features, providing what I hope are clear explanations of what everything is, what it’s for, and how to use it – even the hard stuff. There’s lots of tips and tweaks to help you get up to full speed with it all and maximize your enjoyment, comfort, and skill with your camera.
Let’s jump right in:
On the face of it, you might imagine the X-T2 is an evolutionary step up from its predecessor. But it’s not. The T2 is arguably the most significant camera Fujifilm has released since the inception of the X-series of cameras.
If you’ve handled Fujifilm’s previous best (the X-T1 and X-Pro2), you know this to be true. There’s more pixels, more speed, fast focusing, more customization, more range in settings, and more speed (did I say that?), 4K F-log video, and more. In fact, the X-T2 is so good, people can (and do) justifiably set aside their heavy equipment and dive head-first into Fuji’s mirrorless world to capture the great images they are looking for. And indeed, this is what Fujifilm want to you do. With the T2, they set out to package everything you could want in one unit – whether you be a videographer or stills photographer, or both – with enough pixels, low noise, and equipment speed to be your primary kit.
One of the biggest challenges with mirrorless cameras has been they weren’t fast enough. The issue is several-fold: first, the body is much smaller than a DSLR so there’s limited room to fit things like memory and large processors; second, there’s no mirror, so the main sensor must provide focusing. And contrast focusing is slow. But the T2 demonstrates all that has changed.
This thing is fast – and capable! And fun!
1.1 The Sensor
The challenge in adding more pixels without increasing the size of the sensor is not adding more noise, and not lowering dynamic range. More pixels on the same APS-C sized sensor means smaller pixels, and these smaller pixels must still collect the same quantity of light as their larger predecessors without compromising image quality. Given that, when Fujifilm announced the X-Pro2 and X-T2 would jump from 16MP to 24MP, lots of us were curious whether they could do this without compromising image quality.
But it seems they have.
1.1.1 Megapixels
At the heart of the X-T2 is Fujifilm’s third iteration of the X-Trans sensor (Figure 1-1), which not only has more pixels – up from the X-Trans II’s 4896x3264 to 6000x4000 pixels allowing for 3 inch wider images at 300dpi – but it is has twice the Drive Frequency to accommodate the increased data associated with such a significant bump in pixels.
You’ve probably read how Fujifilm did this by changing from aluminium to copper and other such things, and if you’re interested, it’s a fascinating read. But for most of us, the thing that’s most important, is the bump in speed makes the bump in pixels work.
1.1.2 Phase Detect AF
Pixel count is not the only thing to be bumped on the new X-Trans sensor. There are now many more phase detection pixels covering a wider area than in any previous Fujifilm sensor.
The X-Trans II sensor (X-T1) has 91 focus points with 15 phase detect points grouped close to the centre. 49 of these points are user selectable. But that was clearly yesterday!
The X-T2’s X-Trans III sensor takes this to a whole new level with 325 points – 169 of which are phase-detect (PDAF) – and all points are directly selectable. Given all this, the X-T2 autofocuses in 0.06 of a second.
The obvious benefit of PDAF over Contrast Detect autofocus is speed – especially in those interesting low-light, low-contrast compositions. I must say the system works quite well – as long as your subject is in the PDAF area of the frame. Excusing the pun, but if you are a ‘focus-recompose shooter’, this won’t phase you a bit.
There’s no mystery about where the PDAF area of the X-T2’s X-Trans Sensor is. Just remove the lens and peek inside (Figure 1-2). For a far more helpful and interactive view of this when you’re in the mud shooting, tab the joystick to briefly see the subtle overlay shown in Figure 1-3. For fastest PDAF focusing, keep the focus frame inside this area.
Putting phase-detect autofocus into a camera sensor is a work of genius – and, while not many people know it, it’s a Fujifilm innovation. Perhaps I should explain how it works, but the best explanation I’ve read came from dpreview.com at the time (2010): http://tinyurl.com/acr4no7. So, read up on it there if you’re interested.
In case you’re wondering, because the PDAF pixel pairs gather some light, you don’t see holes
in your image as a result of partly masked pixels overlaying the sensor (Figure 1-4).
1.1.3 No Optical Low Pass Filter!
You’ve probably read the X-Trans CMOS III sensor eliminates the need for an Optical Low Pass filter. Now, this is becoming a popular trend amongst certain high-end cameras. So, how does leaving something out that most other digital cameras have (film does not have this issue), improve image quality? Indeed, what does an OLPF do?
In the simplest sense, the regular 2x2 Bayer arrangement of Red, Green and Blue (RGB) pixels comprising the colour filter array on a sensor creates moiré patterns (colour bands) in the image. You’ve probably seen these in some pictures, on TV etc. They’re especially noticeable in clothing with fine repeating patterns and the like. Placing an anti-aliasing Optical Low Pass filter over the sensor reduces these patterns – but at a cost. It robs the image of clarity by blurring away the fine detail that leads to moiré. Clearly, if you could remove the filter, you’d have sharper pictures, but unwanted colour banding.
To eliminate both the filter, and the resultant moiré patterns, Fujifilm engineers arrived at a brilliant solution. They changed the regular 2x2 arrangement of pixels in the usual RGB colour filter array to the less regular 6x6 pattern seen in Figure 1-5. Recall that Fujifilm has been recognized for their expertise in film for quite some time, and film has random grain structure – which is in fact the logic behind the less regular structure of the 6x6 colour filter array.
This unusual, more random Colour Filter Array means the OLP is no longer mandatory, which in turn leads to sharper pictures with lower noise.
1.1.4 Micro-lenses
Like its predecessors, the X-Trans III sensor incorporates micro-lenses
on each pixel (nobody said making sensors was easy!) to help make the most of the available light (see Figure 1-1). Obviously, this becomes increasingly significant as pixel sizes get smaller by bumping a sensor from say 16MP to 24. This not only improves the sensor’s ability to gather light, but also improves edge to edge image sharpness.
That’s a quick look at what the new sensor delivers. Now let’s see what a new processor brings to the party!
1.2 The X Processor Pro
Like all other forms of personal computing, the processing power in cameras continues to increase (almost exponentially, it seems). And with this speed comes the capacity to add new ‘features’ – new ways of processing raw data to optimize it for the sensor and lenses on the camera. And to do some pretty tricky in-camera post processing for great results too.
The X-T2 sports the new Dual Cortex A7 500MHz X Processor Pro, which Fujifilm says is four times faster than the processor in the X-T1! Four times! Which means images are processed at 480MP/s – up from 120MP/s for the T1. (Figure 1-6)
That sounds good. But what does that mean for us photographers?
1.2.1 Upgraded JPEG Processing
All JPEG processing from RAW sensor data is essentially an in-camera post-processing task allocated to the camera’s processor.
Like other camera manufacturers, Fujifilm is continually tweaking these tweaks, and with the release of the X-Pro2, they confessed they had improved JPEG algorithms for some time. They even suggest they had them early enough to consider putting them in the X-T1. But that camera’s processor wasn’t up to the task without adding processing time that would be unacceptable to the user. Now though, thanks to the significantly faster processor churning through data at 480MP/second, these tweaks are available in your X-T2. Read up more on this in Section 6.2.
1.2.2 Speed
A fast processor leads to a fast camera. Remember when you had to wait for a camera to be ready to shoot? This is not an issue with the X-T2. It starts up rapidly – (under half a second) – so it is pretty much on tap all the time.
Speed benefits show up elsewhere too. Shutter lag is minimal at just 0.05 of a second, for instance.
More speed leads to faster features too, like Continuous High burst mode - which pops off a very useful 8 pictures per second – up to 11fps if you give the camera more power with a VPB battery grip. A most welcome speed when you’re shooting anything other than sleeping kids and animals who clearly don’t understand the concept of posing for a good picture.
It impacts elsewhere too. For example, EVF lag is unnoticeable, giving you the best electronic viewfinder experience available. In Boost
mode, the EVF operates at 100fps – so you won’t miss even the fastest action because the viewfinder can’t keep up.
And finally, more speed leads to faster, more accurate autofocus – which Fujifilm has capitalised on with the new AF-C custom focusing presets. There’ll be a lot more on these a few sections on.
1.2.3 Boost Mode
In order to cater for our thoroughly modern need for speed vs economy of battery use, Fujifilm created Boost
mode. Somewhat akin to High-Performance
in earlier X cameras, but with added shooting speed, and more features – especially if your T2 is wearing a Vertical Power Booster (battery grip).
Without a grip, Boost
mode is activated by the down arrow Fn button. I move this to the Fn
button atop the camera since that arrow key offers more prime
Fn button real estate for my usage.
Read up on the VPB in Section 12.27; battery techniques in Section 4.6; and performance modes in Section 11.5.2; to help decide if you should run your camera in hyper-drive, or at regular freeway speed, and when it’s best to change up, or down a gear.
1.2.4 14-bit RAW
More bits are better, right? The X-T2 outputs 14-bit RAW (16,384 tones). This is generally a feature found on higher end cameras like this. I’ve included this in the processor section of this book because only fast processors can handle the extra data involved along with everything else they are up to – and only serious players care if it’s 12, or 14 bits!
Nikon introduced 14-bit imaging in 2008, and many users found it hard to see any improvement in their images. Maybe this is true for you too. In fact, the only time you’re really likely to notice it is if you’ve underexposed by quite a lot, and you’re desperately hoping to recover detail from the shadows. Now, speaking from experience, I know it happens sometimes, so good to know.
Not that you’ll notice any difference on the average computer monitor or printer – since they simply can’t display this nuance in tonality, even though the images can withstand much more aggressive editing.
These two articles written by a Nikon owner will give you a glimpse into just how much difference this makes in the real world: http://tinyurl.com/2e4nss and http://tinyurl.com/4enno8).
Changing speed ourselves, it’s no good having all that performance if you can’t see what you’re getting, right?
If you’ve never used one before, one peak through the electronic viewfinder, and you’ll see the world in a whole new way. You’ll see what the camera sees as you change films
, manage white balance, stretch the dynamic range, or alter aspect ratio.
1.3 World’s Best Electronic Viewfinder
This isn’t hyperbole - I’m serious. In fact, many thought that about the X-T1’s viewfinder - but now even more so with the X-T2. Viewfinder resolution is a healthy 2.36 million pixels! Refresh rate is 100fps in Boost
mode, and 60fps in Normal
mode. What this means, is EVF lag is utterly a thing of the past, and what you see in the viewfinder, is what you get. (WYSIWYG, for the old-timers among us!)
Since the EVF has such great refresh rates, and significantly higher resolution than the LCD’s modest 1.04M dots, it sucks down more battery power than does the LCD. Fujifilm rates the EVF at 200 shots per charge in Boost
performance mode, and the LCD comes in at 260 shots. The huge drop in framerate between Normal
, and Boost
performance gives 330 shots in Normal
, vs 200 shots in Boost
, and indicates just how much more power the EVF requires.
Of course, if you’re an X100/S/T or X-Pro user, you might be frustrated with the notion that you have an electronic viewfinder at all, – or that you only have an EVF. But this tiny camera body (in fact mirrorless cameras per se) are only really possible because of these kinds of innovations in technology.
As you can imagine, I handle my share of cameras – some with and without electronic viewfinders – so when I first picked up the X-T1, I was wary of the hype. That’s history, of course. And as we all do, I was expecting great things from the X-T2’s upgraded EVF. And I’m pleased to say that Fujifilm has delivered. This is one of the best implementations of an electronic viewfinder you could imagine. Not only that, it brings all that new-ish thinking to the EVF with shooting information now rotating into portrait mode when you turn the camera on its side. Turn this on via: MENU --> D:\Desktop\SetupSpannerIcon2.png 1 --> Screen Set-Up --> EVF Autorotate Displays --> On. Surprisingly, the LCD doesn’t have this feature, so if you frequently swap between displays you must to get used to looking in different places for the relevant information – which is the only argument I can see for ever turning this off.
Of course, the big deal with an electronic viewfinder is you see a live view of what you are shooting, overlaid with relevant shooting information you usually only have on a rear LCD screen – except the EVF has much higher resolution. This works in all shooting modes.
The EVF shows the playback image too – reducing chimping
(moving the camera from your eye to view your last capture on the LCD), since you can see it right in the viewfinder. For this to work, set the review option via: MENU --> D:\Desktop\SetupSpannerIcon2.png 1 --> Screen Set-Up --> Image Disp. --> (Continuous, 1.5 sec, 0.5 sec, OFF). You can also press the Playback button ( ) to review your images in the EVF.
What makes the electronic viewfinder so good? It’s an Organic L.E.D. (OLED) display – the same kind used on high-end smart phones. They’re brighter, have a wider colour gamut, and have a faster refresh rate (and resolution) than the camera’s rear LCD.
One significant benefit the EVF brings to outdoor videography is you don’t have to strain your eyes looking at a sun-washed LCD on a bright day. Simply switch to EVF instead! Or if you are really into videography, you might want to invest in a field monitor with hood, to mount to the video rig you invariably need, to get the job done. Right?
There’s a neat Dual View display screen only available when focusing manually, which shows the full image frame on the left and a smaller, zoomed, focus peaking/digital split image on the right. This allows fine tuning for manual focus without losing sight of the entire frame. Of course, Digital Split Imaging relies on the hybrid sensor’s phase detect pixels, so it only works in the centre of the sensor (frame), meaning if you want to focus on something then recompose your shot, you can do it from this screen quite easily.
Other manual focusing aids (Focus Peaking
and Standard
magnified view) allow you to select which area of the frame you want to focus on or enlarge by moving the focus frame in the normal way.
More than any previous X platform camera, using the X-T2’s EVF will plaster your nose into the LCD leaving obvious marks - and for quite some time I really missed the viewfinder on the X-Pro2. I found the glass on the left edge of the LCD sharp, and for a while, I had a mysterious mark on my nose that popped up from time to time after a lot of EVF shooting (from scratching it on the edge of the LCD glass!).
While the X-T2’s eyecup is deeper than the standard eyecup fitted to the X-T1, you might be interested to know, the larger eyecup released as an accessory for the X-T1 (the EC-XTL), fits the X-T2! This moves your eye further from the rear of the camera. You might also find this useful if you wear eyeglasses to reduce light influence outdoors. To fit the EC-XTL, simply slide the standard eyecup upwards, and replace it with the new one.
The X-T2’s bright, low-lag viewfinder is one of the essential ingredients that makes it a joy to use this camera.
With it:
You can see how your image will look before you shoot (exposure, white balance and depth of field),
You get a live histogram for ultimate exposure management,
You have great tools for manual focusing (Focus Zoom, Focus Peaking and Digital Split Imaging),
You have compositional guidelines and a digital level should you want,
You can display customizable shooting information,
The EVF is great for shooting in low light.
I review the various viewfinder and LCD display modes in Section 3.3, and Section 11.3 covers all the information on the Screen Set-Up options.
1.4 Focusing
1.4.1 Autofocus
You wouldn’t believe how many people ask me why they should buy an X-T2 above their current X
camera. And the short answer is…
Speed…! Fast autofocus! (I know, I know, there’s lots more!)
While the X-T1 represented a huge step forward in Fujifilm’s quest for DSLR-like autofocusing speeds, the X-T2 (and X-Pro2) is clearly the fastest, most accurate focusing X
camera to date. Notwithstanding the obvious bump in megapixels, this is arguably the most significant aspect of the new sensor/processor pairing.
The X-T1’s sensor has 77 focus points with 15 phase detect points grouped at the centre of the sensor. Of these, 49 points are user selectable. The X-T2’s new X-Trans III sensor takes this to a whole new level with 325 focus points – 169 of which are phase-detect (PDAF), covering 40% of the sensor area – all points are directly selectable.
This allows for high-speed 8fps¥ stills shooting, autofocus as fast as most DSLRs, and predictive tracking at burst speeds in AF-C. (¥ 11fps with the optional battery grip, or 14fps with the electronic shutter.)
Indeed, the X-T2’s focusing system is so good that the camera can truly be your primary
shooter. Where AF speed lags somewhat is with some of the earliest XF lenses. Or put another way, where the X-T2’s focusing speed excels, is with the newest XF lenses specifically designed with linear focusing motors to keep up with the new processor. Read up on this in Chapter 15.
You don’t have to shoot with it for long before it becomes clear that the T2’s autofocus is fast and accurate.
1.4.2 Focus Tracking & AF-C Custom Presets
When the X-T1 was released, the buzz was all about predictive tracking. Essentially the camera uses what it knows about the speed and direction of a subject to predict where it should focus when the next picture is taken, and it adjusts accordingly. This reduces the time required to take the picture since the camera is now altering focus ahead of time to account for the usual delays implicit in focusing before taking a picture.
The X-T2 still does all this, but the buzz has shifted, and now it’s about AF-C Custom presets.
What the presets do, is attempt to refine the concept introduced earlier, by using your input to better understand what kind of subject the camera should be tracking.
Indeed, for best results, it’s actually imperative to match the action you are photographing to the appropriate preset. Without this input, some presets work rather poorly when used in contrary circumstances.
While the X-T2 has brought so many new features to Fujifilm shooters, these new tracking modes are a boon for sports and wildlife photographers, allowing us to shoot all kinds of motion at burst speeds with a high degree of certainty that we will capture the action we wish to follow accurately.
You’ll find presets like these in some other top-end cameras – and in spite of the apparent complexity, they are easy to use – and indeed, the icons are your friend, giving you a simple memory hook to match action-to-preset.
There are five AF-C Custom presets to suit the kind of action you wish to track. The presets only work in Zone AF, or Tracking AF focus modes.
Each preset is comprised of three variables, which determine how tenaciously tracking should stay locked on a subject; how evenly the subject is expected to move; and, which part of the zone to prioritise during focus.
It is imperative the correct preset be selected for the intended subject, in order to instruct the camera what to do with intervening obstacles, temporary loss of the subject, subject velocity and consistency, and what should happen with initial, and subsequent focus in the focus zone.
Since these presets can be used with Zone AF and Tracking AF modes, some consideration should be given as to which of these will provide the most accurate tracking given subject movement – especially with respect to speed.
To test the presets under some challenging conditions, I took myself off trackside to a race meet. The sub-second sequence in Figure 1-15 shows one of the AF-C presets in action.
Frankly, I didn’t expect it to perform well in under these conditions, but as Figure 1-14 shows, the camera did a good job of focusing on my initial subject, and ignoring the obstacle
rapidly coming up on the inside – between subject and lens. This is AF-C Custom preset 2 in action, ignoring obstacles. If you want it to ignore obstacles even more, you can cook your own preset based on #2, and bump up tracking tenacity.
It’s worth noting that how well tracking works depends somewhat on how outstanding
your subject is. A subject moving from shadow to sunlight will probably be lost. Likewise, picking out distant subjects from a composition doesn’t always work well. It seems this is due to the contrast/colour methodology used by the tracking system to identify the subject under your focus frame, and the hybrid nature (contrast and phase-detect) of the AF-C focusing system.
Which lens you are shooting with will also impact your tracking results. Heavier lenses have a lot more glass to move during focusing. Additionally, the newer range of Fujifilm lenses have uprated electronics, and linear tracking motors that work synergistically with the X-T2’s faster processor. Read more about this in the lens discussion in Chapter 15.
AF-C Custom Settings are covered in detail in Section 5.3.4.
1.4.3 Focus Zoom
Focus Zoom is indispensable for eyeballing critical focus. It’s easy to use, and works in both AF-S and MF modes. Just press the rear command dial and your view is instantly filled with the area under/around the focus frame. This works even if you’ve relocated the focus frame as in Figure 1-16b - you zoom that area, not the centre-of-screen. This is a very handy tool, and easy to use without taking your eye from the viewfinder.
1.4.4 Manual Focusing aids – MF Assist
The X-T2 provides two great manual focusing aids to assist in fine-tuning manual focus. Both work in concert with Focus Zoom and the AF+MF feature, meaning you can manually manage focusing with a high degree of accuracy in the least amount of time.
The first MF Assist option is Digital Split Imaging
– somewhat reminiscent of DSLR split screens from days of yore – or youth, depending on how old you are willing to admit you are. With DSI, you know your image is in focus when the panes line up. (Figure 1-17.)
The second is a very useful feature called Focus Peak Highlighting
. As you turn the lens focus ring, areas that have high contrast (which equates to sharp focus) are highlighted in coloured pixels. (Figure 1-18.)
Switch between these modes by long-pressing the rear command dial. A notification briefly flashes in the viewfinders alerting you to your selection.
You’ll notice a third mode
as you toggle through these – Standard
– which really means no MF Assist at all. Choose this and you are manually eyeballing manual focus in the viewfinder. Not very satisfactory unless you combine it with Focus Zoom.
MF Assist options have additional settings in MENU --> --> MF Assist. Your selection is saved, so from now on you can just use the rear dial for rapid selection. See 10.2.10 for more on these settings.
1.4.4.1 Digital Split Imaging
If you are sufficiently ancient enough (think wise… ) you’re likely to recall the heady days before autofocus ever existed, where split imaging was virtually the only way to achieve manual focus.
With the addition of phase detect pixels on the sensor, Fujifilm has revived the concept with a digital split imaging system just for