Does this latest X-series model have the
X-factor? We put it to the test.
‘In terms of ergonomics, the X-S1 feels
good and balances well. The buttons are large, and for the most part,
well-spaced.’
Of the four X-series cameras announced so
far by Fujifilm, the $1,050 X-S1 is the only premium-priced bridge camera in
the range. Aping the layout of a DSLR, it’s certainly at odds with the
retro-looking designs of the other three cameras. Fujifilm suggests the
Japanese-built X-S1 will appeal to discerning users and while it’s true that it
shares the same 2/3inch type 12 megapixel EXR-CMOS sensor and processor as the
petite X10 compact, the link between the others appears somewhat tentative. The
concept is linked much more to do with the underlying technology rather than
the outward appearance of the camera, but form tends to follow function.
Fujifilm is one of the few manufacturers
with the facilities to produce both the sensors and lenses for its cameras, and
the X-S1 marries the intriguing EXR-CMOS sensor with a remarkable 26x optical
zoom lens. A quick look at the spec, which also includes an electronic
viewfinder, three inch flip-out screen and Full HD video capture at up to 29
minutes in length and you might think the X-S1 has more in common with
Fujifilm’s range of broadcast cameras and lenses.
This
superzoom bridge camera is built to resemble a digital SLR both in terms of
build quality and design.
From our time with the camera, the X-S1 is
clearly built primarily for stills, as the video capabilities are quite
limited. First, the only frame rate option at 1080p is 30fps, a compromise for
PAL regions and bit-rates are low typically at around 14Mbs. Second, video is
fully automatic, there are no tone profiles or exposure modes to select from
and you can’t adjust the exposure at all during capture. Every think is locked
down once recording starts. Examination of low light samples, however, shows
quite clean-looking footage, just like the X10, although that does not come as
a surprise.
The huge zoom range, equivalent to a
24-624mm on a 35mm camera, with the option to switch between a contrast
detection-based AF and electronically adjusted MF using a large and reasonably
responsive focusing ring are both attractive options. Some slight focus
stepping is noticeable using the manual focus ring but that and the ability to
use an off-camera microphone (thanks to the inclusion of a 3.5mm microphone
socket) are handy nonetheless. As long as you’re aware of the restrictions,
then the X-S1 could be useful for occasional video capture.
Like other bridge cameras, the X-S1 shares
a similar design and layout to that of a conventional DSLR. It’s also more or
less the same size, perhaps slightly larger, taking the lens into account. But
that’s not really a fair comparison. In terms of ergonomics, the X-S1 feels
good and balances well. The various buttons are quite large, and, for the most
part they are well-spaced, though we felt that the Fn1 button on the top plate
was a little too close to the shooting mode selector.
Working at waist level with the camera on a
tripod was made easier with the flip-out screen, and we didn’t feel the need
for it to swing out to the side and rotate like the Canon EOS 60D. This feels
much more robust, even if it’s less versatile, but after working in low-light
for a while, we started to wonder why it wasn’t touch-sensitive. There’s a high
degree of display customisation available to suit your shooting style, but some
of the camera’s settings had us searching through the various menus. Fujifilm
has always put the RAW file option under the set-up menu, but the Manual Focus
Assist feature is only to be found under the Fn button sub-menu and then some
buttons are disabled according to the mode set. If you’ve selected RAW, for instance,
the Film Simulation bracketing feature disappears from the menu as does the
high-speed shooting modes. The 7fps option is for JPEG only, and drops to 5fps
(for 8 frames) for RAW. It takes some time to become accustomed to this way of
working.
‘Another highlight was the camera’s
built-in image stabilisation function. The steadying effects were clearly
visible in the EVF and in the resultant images.’
The
bold, punchy colours in this shot really show the X-S1 performing at its best
That’s also true of the EXR modes. If you
select this, the camera outputs file as JPEGs only. Left to EXR Auto the camera
selects from one of the Scene modes and then from one of three options:
Resolution Priority, High ISO & Low Noise and D-Range Priority. While the cameras’s
responsiveness and quality of output are both impressive in this mode, the
latter two EXR options are reduced in image size to 2816x2112 pixels (6MP)
along with a noticeable drop in fine detail. It’s tempting to manually select
the Resolution Priority option, but then that’s little different to using one
of the other exposure modes while limiting yourself to JPEGs.
Examination of RAW files shows the level of
processing the camera is performing. Chromatic aberration and lens distortion
are present but are corrected in-camera in real-time for output as JPEGs; if
you zoom quickly enough you can just about see the distortion correction being
applied in the high-quality and well-contrasted EVF. In spite of a surface area
nearly twice that of a 1/2.3inch sensor the X-S1 struggled in low light above
ISO800, but we were pleased with the colour rendition, tonality and level of
detail in files at low sensitivities. Another highlight was the camera’s
built-in image stabilisation function. The steadying effects were clearly
visible in the EVF and in the resultant images.
The
Fujifilm FinePix X-S1 handles lowlight scenes well. Use mono for a different
touch.
However, although being an optically-good
performer, the metal-barrelled Fujinon lens was not without fault. The
extending barrel on our sample exhibited a fair amount of unwanted movement,
though this didn’t appear to have any affect on the quality of the images. We
were also surprised to see the existence of so-called ‘white globes’, which are
overly large specular highlights, in images. The presence of these has also
been reported by a number of other users of the X10 on popular forums. In
fairness, this phenomenon occurred in only a small number of test shots in
low-light levels at low ISOs, but it’s visible in both RAW and JPEG files and
appears to be something of a mystery at this time.
After Fujifilm’s inspiring duo, the X100
and X10, we were looking forward to testing the X-S1. It’s certainly a great
all-rounder and a good choice for a travel camera. We found the X-S1 enjoyable
to use and the most versatile of the X-series to date, but it’s not without
some shortcomings. At $1,050, it’s a costy option, there’s a huge premium to
consider over the smaller sensor ‘super zoom’ rivals, and pricier than any
entry-level DSLR with a kit zoom. With those caveats in mind the X-S1 is an
attractive proposition and a welcome addition to the range.
