Review based on a production X-Pro1 with firmware version 1.10
The X100 may have looked very traditional but it housed some very modern technologies - foremost amongst which was its hybrid optical/electronic viewfinder. This design not only allowed the choice of a rangefinder-style optical view or a fully electronic view, but was also able to overlay electronic data over the optical viewfinder. It was a masterpiece of engineering, but appeared to be a design very much dependent on its use with an integrated prime lens.
With the X100's success and the increasing popularity of mirrorless interchangeable lens cameras, it seemed only a matter of time before Fujifilm would introduce a higher-end model with exchangeable lenses. That camera has now arrived in the shape of the X-Pro1, whose name leaves absolutely no doubt as to its intended market: it becomes the first of its type specifically aimed at professional photographers.
Fujifilm X-Pro1 highlights
The X-Pro1 is the start of an all-new camera system, with a brand new mount and lenses. It's unashamedly targeted at a high-end audience, with analogue control dials and a small set of compact, large-aperture primes available at launch. Fujifilm is keen to stress its future commitment to the system, with a promise of seven more lenses by spring 2013, and further camera models to come too. Key features are:- Fujifilm-designed 16MP APS-C X-Trans CMOS sensor
- Novel colour filter array to suppress colour moiré, no optical low-pass filter
- EXR Processor Pro image processor
- Dual-magnification hybrid optical / electronic viewfinder
- Analogue dials for shutter speed and exposure compensation on top of camera
- All-new, fully electronic X lens mount; 17.7mm flange-to-sensor distance
- Three 'XF' lenses at launch: XF 18mm F2 R, XF 35mm F1.4 R, and XF 60mm F2.4 R Macro
- Prime lenses have traditional-style aperture rings (1/3 stop increments) and large manual focus rings
- Revised rear-panel control layout
- On-screen 'Q' control panel and redesigned tabbed menu system
- Focal-plane shutter, 1/4000 sec max speed
- 3.0" RGBW 1.23M dot LCD
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| The X-Pro1 with its initial lens set, with hoods attached: 35mm F1.4 (mounted), 60mm F2.4 Macro and 18mm F2 |
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However potentially the most interesting change is on the inside, and specifically the image sensor. The X-Pro1 uses a proprietary, Fujifilm-designed 16MP APS-C 'X-Trans CMOS' chip that eschews the conventional Bayer-pattern colour filter array in favour of a more complex layout. The result, claims Fujifilm, is a practical immunity to colour moiré, which means that an optical low-pass (anti-aliasing) filter is no longer required. This suggests that in terms of detail resolution the X-Pro1 should punch above its weight based on pixel count alone - indeed at launch Fujifilm claimed it should out-resolve the full frame 21MP Canon EOS 5D Mark II.
The X-Pro1 uses an entirely new all-electronic lens mount, and the initial lens line-up will consist of a set of bright primes with focal lengths that neatly complement the X100's 23mm F2. There's an 18mm F2 wideangle, 35mm F1.4 normal, and 60mm F2.4 Macro telephoto (offering 28mm, 50mm and 90mm equivalents respectively) - the latter with extended close-focus capabilities giving 0.5x magnification. Each has a prominent manual focus ring and an aperture dial controllable in 1/3 stop increments (a welcome improvement over the X100). However, neither control is mechanically coupled - both focus and aperture are electronically driven 'by wire'.
The X100's signature optical/electronic 'hybrid' viewfinder is retained, and to help cope with interchangeable lenses it now offers two magnifications. At its lower magnification (0.37x) it covers the field of view of the 18mm lens; when the 35mm lens is mounted, an additional magnifier slides into place to match, giving 0.6x magnification. The 60mm lens uses a smaller frameline within this magnified view. One of the advantages of the hybrid finder, of course, is that it can project suitable frame lines in the optical finder for a wide range of focal lengths, and critically-accurate composition can always be obtained by switching to the EVF regardless of the lens used.
One perhaps less-obvious change is that the X100's near-silent in lens shutter has gone, and the X-Pro1 employs a conventional focal plane shutter. This is inevitably louder in operation, and offers slower flash sync. But it also means that unlike the X100, the X-Pro1 is fully capable of combining its fastest shutter speeds with large apertures.
Further additions compared to the X100 include an upgraded LCD, which Fujifilm says offers wider viewing angles and lower reflectivity to aid viewing in direct sunlight, and a clever multiple exposure mode that provides a live preview of the composite image even when using the optical viewfinder. There are also two new Film Simulation modes, designated ProNegS and ProNegH. These, of course, play on Fujifilm's long heritage as a film manufacturer, and as the names suggest aim to replicate the characteristics of Fujicolor professional colour negative film (PRO 160NS and PRO 400NH respectively). They're therefore targeted specifically at professional photographers shooting portrait and wedding work.
All of this certainly makes the X-Pro1 an enticing prospect. We very much like the X100, despite its numerous quirks, and on paper its big brother promises improved handling and even better image quality, along with all the flexibility of interchangeable lenses. In this review we'll see whether it lives up to its billing.
Hands-on Preview video*
*Note that this video was prepared as part of our original preview content of the X-Pro1
If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
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Conclusion / Recommendation / Ratings are based
on the opinion of the reviewer, you should read the ENTIRE review
before coming to your own conclusions. Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window. To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top. DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C. |
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Fujifilm X-Pro1 specifications
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| Body material | Die-cast Aluminium alloy |
| Sensor | • 23.6mm x 15.6mm (APS-C) X-Trans CMOS sensor • 16.3 million effective pixels • Primary colour filter (RGB color filter array) |
| Sensor cleaning | Ultrasonic Vibration |
| Image sizes | 3:2 • 4896 x 3264 • 3456 x 2304 • 2496 x 1664 16:9 • 4896 x 2760 • 3456 x 1944 • 2496 x 1408 1:1 • 3264 x 3264 • 2304 x 2304 • 1664 x 1664 Motion Panorama • L 7680 x 2160 Horizontal 7680 x 1440 • M 5120 x 2160 Horizontal 5120 x 1440 |
| Still image formats | • RAW (.RAF) • JPEG (EXIF 2.3) • RAW + JPEG |
| Image processor | Fujifilm EXR Processor Pro |
| Movie recording | • 1920 x 1080 Full HD, 24fps • 1280 x 720 HD, 24fps • 29 minutes max recording time • H.264 MOV format • Stereo sound |
| Lens mount | Fujifilm X mount |
| Image stabilization | • In-lens optical stabilization when available |
| Auto focus | • TTL Contrast Detection AF system • Multi, 49 Area (7x7) LCD / EVF, 25 area (5x5) OVF • AF frame size changeable, 5 types • Distance indicator |
| Focus modes | • Single shot AF (S-AF) • Continuous AF (C-AF) • Manual focus (MF) |
| AF assist lamp | • Yes |
| Exposure modes | • Program AE • Aperture priority AE • Shutter priority AE • Manual |
| Sensitivity | • ISO 200- 6400 (Standard Output Sensitivity) • 100, 12800 and 25,600 in extended mode • Auto ISO (400, 800, 1600 or 3200 upper limit) |
| Metering modes | • TTL 256-zones metering • Multi-pattern • Center-Weighted Average • Spot |
| Exposure comp. | • Up to ± 2.0 EV • 1/3 EV steps |
| Shutter speeds | • 1/4 - 1/4000 sec (P mode) • 30-1/4000 sec (all other modes) • Bulb (Max 60 min) • Time (2-30 sec) • Flash sync 1/180 sec • Focal plane shutter |
| Self timer | • 10 or 2 seconds |
| Continuous shooting | • 6fps / 3fps selectable |
| Auto bracketing | • AE Bracketing (±1/3EV, ±2/3EV, ±1EV) • Film Simulation Bracketing (any 3 type of film simulation selectable) • Dynamic Range Bracketing (100%, 200%, 400%) • ISO sensitivity Bracketing (±1/3EV, ±2/3EV, ±1EV) |
| White balance | • Automatic scene recognition • Fine • Shade • Fluorescent light (Daylight), • Fluorescent light (Warm White) • Fluorescent light (Cool White) • Incandescent light • Underwater • Custom • Color temperature selection (K) |
| Film Simulation modes | • Provia / Standard • Velvia / Vivid • Astia / Soft • Pro Neg Hi • Pro Neg Std • Monochrome • Monochrome + Yellow Filter • Monochrome + Red Filter • Monochrome + Green Filter • Sepia |
| Dynamic Range Setting | • Auto (100-400%) • 100% • 200% • 400% |
| Internal Flash | • None |
| External Flash | • Hot-Shoe (dedicated TTL flash compatible) • Sync terminal |
| Flash modes | • Auto • Forced Flash • Suppressed Flash • Slow Sync • Rear Curtain Sync • Red-eye Reduction Auto • Red-eye Reduction & Forced Flash • Red-eye Reduction & Slow Sync • Red-eye Reduction & Rear Curtain Sync |
| Viewfinder | • Hybrid Multi Finder • Eye sensor installed • Eye point approx 14mm |
| Optical Viewfinder | • Reverse Galilean with electronic bright frame display • 0.37x and 0.6x magnifications • Framelines cover approx 90% captured area |
| Electronic Viewfinder | • 0.47in, approx 1,440,000 colour LCD • Approx 100% coverage |
| LCD monitor | • 3.0" RGBW colour LCD • 1,230,000 dots • 100% frame coverage |
| Photography Functions | Select custom setting, Motion panorama, colour space, colour (Saturation), sharpness, Dynamic range, Film simulation, Gradation, Auto red-eye removal, Framing guideline, Frame No. memory, Histogram display, Preview depth of focus, Focus check, Electronic level, Multiple exposure, Date input, Fn button setting (RAW, Movie, etc) |
| Playback functions | RAW conversion, Image rotate, Red-eye reduction, Photobook assist, Erase selected frames, image search, Multi-frame playback (with micro thumbnail), Slide show, Mark for upload, Protect, Crop, Resize, Panorama, Favourites |
| Storage | • SD/SDHC/SDXC |
| Connectivity | • USB 2.0 (Hi Speed) • Mini HDMI |
| Power | • NP-W126 Lithium-Ion rechargeable battery • Approx 300 frames battery life |
| Dimensions | • 139.5 (W) x 81.8 (H) x 42.6 (D) mm • 5.5 (W) x 3.2 (H) x 1.7 (D) in. |
| Weight | • Approx. 450g / 15.9oz. (including battery and memory card) • Approx. 400g / 14.1oz. (excluding battery and memory card |
Fujifilm X-Trans CMOS sensor
Fujifilm has along history in designing its own unique sensors which don't use conventional Bayer-pattern colour filter arrays. The X-Trans CMOS is the latest design to emerge from its out-of-the-box thinking, and while it uses a conventional square-grid pixel layout (unlike the company's EXR compacts), the colour filter array over the pixels has been completely redesigned. The result, according to Fujifilm, is minimal susceptibility to colour moiré, which in turn allows the company to dispense with the anti-aliasing filter that's used by almost all other cameras. In principle, this means the X-Pro1 should be able to resolve more detail than Bayer-array cameras with a similar pixel count.The color filter array
Almost all digital cameras use what it called a Bayer color filter array, named after the Kodak engineer who developed the pattern. Over the years it's proved to be an excellent way of capturing both color and detail in a scene. Essentially, it consists of a simple repeating pattern of four pixels, two of which are sensitive to green light, one to red and one to blue, in a square RGGB layout.However, one problem with the Bayer array is its susceptibility to false colour artefacts when faced with an image that contains finely-repeating patterns (such as textiles), caused essentially by interference between these patterns and the regular grid of photosites. This results in unsightly bands of color, and in most digital cameras is suppressed by the addition of an optical low pass (or 'anti-aliasing') filter in front of the sensor that blurs away the finest image detail. This reduces any moiré patterns, but with an inevitable loss of resolution.
Film never showed an analogous effect due to its random grain structure, and Fujifilm's engineers reasoned that modifying the sensors' colour filter array to make it look more irregular would have a similar effect. The result is the X-Trans CMOS's 6x6 colour filter array, with red, green and blue photosites on each row and column (diagrams courtesy of Fujifilm):
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| The common 2x2 'Bayer' pattern used in most digital cameras | The 6x6 color filter array pattern of Fujifilm's X-Trans CMOS sensor |
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The elimination of the low-pass filter has knock-on benefits - it allows the shutter to be set closer to the sensor, which in turn enables more flexibility in lens design as the 'back focus' distance from the rear lens element to the sensor can be shorter. This is reflected in the lens mount specifications for the all-new 'X' mount, which allows a back focus distance of a mere 10.2mm.
All-electronic X mount
A new camera system requires a new lens mount, and Fujifilm has duly complied with the 'X' mount. It offers few surprises to anyone who's been following recent developments in mirrorless camera systems, being an all-electronic bayonet mount with ten contact pins for communication between the camera and lens. The lenses released alongside the X-Pro1 have traditional-looking aperture and focus rings, but these have no direct mechanical coupling, and do nothing when the lens is dismounted from the camera.
Body & Design
The back of the camera, however, sees the biggest changes. The X100 received some criticism for its sometimes-fiddly plastic buttons and dials, and Fujifilm has completely revised the rear layout to address this. The buttons have been rearranged and are now larger and more positive, which a higher quality of finish. Consequently, the X-Pro1 really does feel like a serious photographic tool.
The four-way controller is larger, with separated directional keys, a bigger 'OK' button and no surrounding dial; instead there's a single, clickable rear dial placed for thumb operation. The Drive mode button tops a column on the left side, above the metering mode and focus area buttons. Perhaps most notably, though, the RAW button has disappeared, replaced by a Q button that brings up a rear-screen control panel to change a wide range of photographic functions.
Tellingly, there's no dedicated movie record button: the X-Pro1 can record Full HD videos, but only via a drive mode setting; there's no real attempt at integration. The message here from Fujifilm is pretty simple - this is camera that's focused fundamentally on stills image shooting, and movies are very much a bonus.
Top view
The X-Pro1 has a rather minimal handgrip - just enough to give you something positive to hold onto, and stop the camera slipping out of your fingers. Fujifilm is offering an accessory grip that bolts into the tripod socket to provide a more positive hold, but you won't be able to change the battery or card with it attached.
Optional accessories
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This is the EP-X20 flash unit, designed specifically to complement the X-Pro1. It's a small, fixed-head unit that has the distinction of incorporating a manual power output dial on top. |
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This is the X-Pro1's optional handgrip, that simply screws onto the base of the camera. However, once installed it blocks access to the battery / memory card compartment completely. |
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The X-Pro1's shutter release is threaded for an old-fashioned cable release. In practice this is something of a double-edged sword - they're certainly cheaper than other manufacturer's electronic remote switches, but you lose the tactile feedback of the half-press to focus. Also there's no facility to use a programmable timer remote, for example for time-lapse shooting. |
Body & Design
The back of the camera, however, sees the biggest changes. The X100 received some criticism for its sometimes-fiddly plastic buttons and dials, and Fujifilm has completely revised the rear layout to address this. The buttons have been rearranged and are now larger and more positive, which a higher quality of finish. Consequently, the X-Pro1 really does feel like a serious photographic tool.
The four-way controller is larger, with separated directional keys, a bigger 'OK' button and no surrounding dial; instead there's a single, clickable rear dial placed for thumb operation. The Drive mode button tops a column on the left side, above the metering mode and focus area buttons. Perhaps most notably, though, the RAW button has disappeared, replaced by a Q button that brings up a rear-screen control panel to change a wide range of photographic functions.
Tellingly, there's no dedicated movie record button: the X-Pro1 can record Full HD videos, but only via a drive mode setting; there's no real attempt at integration. The message here from Fujifilm is pretty simple - this is camera that's focused fundamentally on stills image shooting, and movies are very much a bonus.
Top view
The X-Pro1 has a rather minimal handgrip - just enough to give you something positive to hold onto, and stop the camera slipping out of your fingers. Fujifilm is offering an accessory grip that bolts into the tripod socket to provide a more positive hold, but you won't be able to change the battery or card with it attached.
Optional accessories
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This is the EP-X20 flash unit, designed specifically to complement the X-Pro1. It's a small, fixed-head unit that has the distinction of incorporating a manual power output dial on top. |
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This is the X-Pro1's optional handgrip, that simply screws onto the base of the camera. However, once installed it blocks access to the battery / memory card compartment completely. |
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The X-Pro1's shutter release is threaded for an old-fashioned cable release. In practice this is something of a double-edged sword - they're certainly cheaper than other manufacturer's electronic remote switches, but you lose the tactile feedback of the half-press to focus. Also there's no facility to use a programmable timer remote, for example for time-lapse shooting. |
Conclusion - Pros
- Excellent image quality at all ISO settings - impressive resolution and low noise
- Wide choice of film simulation modes offer superb out-of-camera colour rendition
- Intuitive and straightforward traditional control layout (aperture ring, shutter speed and EC dials)
- Well laid-out 'Q' Menu offers quick access to a wide range of settings
- Impressively solid build quality
- Hybrid viewfinder offers detailed information in optical finder (live histogram, electronic level etc.)
- Reliable and accurate metering and white balance systems
- Relatively quiet, discreet shutter
- Well-implemented in-camera RAW conversion
Conclusion - Cons
- Slow autofocus compared to its mirrorless peers
- Dysfunctional manual focus
- Overly-conservative DOF scale useless for zone focusing
- Poor auto ISO implementation (uses too-slow shutter speeds)
- Live Histogram doesn't work in manual exposure mode (always implies correct exposure)
- No face detection AF system
- Unimpressive video mode
- Limited control customisation
- Continuous drive mode uses different filename convention
- Very low playback magnification when shooting RAW only
Overall conclusion
The X-Pro1 is a logical evolution from the fixed-lens FinePix X100, and it shares many of that camera's best attributes. The traditional dial-based control layout makes it a very engaging camera to use, and the clever hybrid optical-electronic viewfinder gives an immersive view of the world while providing as much or little exposure information as you like. Perhaps most importantly, the X-Trans CMOS sensor gives truly excellent image quality, particularly in combination with the stellar XF 35mm F1.4 R lens.Perhaps predictably, the X-Pro1's biggest problems are also inherited from the X100, most notably somewhat sluggish autofocus and unresponsive manual focus. Fortunately though Fujifilm has eliminated most of the other problems that beset the X100 when it first released, and as a result the X-Pro1 generally handles and behaves much as you'd expect from a modern camera. A few residual operational oddities and glitches have found their way over though, which means that the X-Pro1 still feels rather 'first generation' in some respects. But on the whole it's a very likeable camera to shoot with, and one that can deliver absolutely stunning results.
Image Quality
We were hugely impressed by the X100's image quality, and Fujifilm has scaled even greater heights with the X-Pro1. The camera's JPEGs are little short of superb, with appealing colour rendition, lots of detail, and remarkably low noise even at high ISOs. The various 'Film Simulation' modes allow you to tune the camera's colour output to suit different subjects, and there's plenty of further fine-tuning on offer. Skin tones have always been a particular strength for Fujifilm, and the two 'ProNeg' modes, N and H, offer further, more neutral options for portrait work.One flipside of the X-Pro1's unconventional sensor, however, comes for RAW shooters, for whom support is limited. Raw File Converter, like all of the various incarnations of SilkyPix, has never been our favourite program to use, with its machine-translated menus and odd terminology. It's capable of quite decent results, but because it makes no attempt to match the camera's colour rendition its output simply isn't as appealing. Adobe Camera Raw, meanwhile, produces generally more-attractive colours, but can show various demosaicing artefacts if you look too closely. However we've not found these to be hugely problematic in normal use.
The optics, of course, play a major part in the overall image quality, and we're especially impressed by the XF 35mm F1.4 R, which is truly excellent. The XF 60mm F2.4R Macro is optically very good too; its major problem is sluggish AF, especially in low light. The XF 18mm F2 R not at all bad for a compact wideangle - it's impressively sharp in the centre of the frame even wide open, but needs to be stopped down to about F5.6-F8 for the corners to sharpen up. Fujifilm is using software correction for distortion, vignetting and chromatic aberration in the camera's JPEG processing, which helps make the images look clean. One slight oddity is that the 60mm F2.4 Macro uses correction for pincushion distortion, which slightly degrades detail in the centre of the frame - although most of the time you'd struggle to tell.
Handling
The X-Pro1's 'traditional' control layout, with physical shutter speed, aperture and exposure compensation dials, means that in many respects it's a joy to shoot with. It encourages you to engage with the process of making an image, rather than just pointing the camera and letting its automated systems do the job. The 'Q' Menu is a welcome addition too, giving quick access to a range of parameters that required menu-diving on the X100. It's not a new idea, of course, but Fujifilm's version is noteworthy for the simplicity and clarity of its layout. The X-Pro1's shutter noise is also relatively quiet and unobtrusive, which is never a bad thing.Special mention has to be made of the hybrid viewfinder, and the ability to overlay detailed shooting information in the optical finder provides a unique viewing experience that's extremely well-suited to certain subjects such as portraits. The fact that you can also switch to the high quality EVF or use the rear screen for precise composition is an added bonus, especially as the user experience stays admirably consistent. One slight reservation here, though, is that the EVF's refresh rate can get distinctly slow, especially in low light.
The X-Pro1 does have its fair share of irritations, though. The AF point selection button is awkwardly-placed for use with the camera to your eye, slightly negating what should be one of the camera's key attractions - the ability to move the AF point freely around the optical viewfinder. AutoISO is a distinct step back from the X100's; in our experience it chooses shutter speeds that are too slow to guarantee sharp images, and should generally be avoided. Control customization is limited to a single Fn button, which you'll probably want to assign immediately to ISO, meaning you can't use it for anything else. This is especially frustrating as the X-Pro1's rear controls are distinctly under-utilised, especially in aperture priority mode (which we suspect many owners will use).
Our biggest bugbear with the X-Pro1, though is focusing. Its autofocus is slow compared to its mirrorless peers, especially in low light, and particularly with the 60mm F2.4 macro lens; this really isn't a camera for moving subjects. Manual focus is also distinctly flawed - the 'by wire' focus rings are rather unresponsive, requiring multiple turns to cover the full distance range. The X-Pro1's depth of field scale can't easily be used for zone focusing as it's ludicrously conservative, and accurate focusing using magnified live view can be impossible in bright light, as the camera will use an aperture of its choice for viewing that's often too small.
Having said all of this, if you shoot the X-Pro1 in aperture priority, using centre-point AF with focus and recompose, and setting ISO manually via the Fn button, then it behaves itself pretty well, particularly with the Q menu on hand for the less-frequently changed settings. Crucially, not only is this an entirely realistic way of working, it's one we suspect many users would choose by default. This doesn't excuse its flaws, but it does make them much more tolerable.
The Final Word
With the X-Pro1 Fujifilm has built on the platform provided by the X100, and is beginning to look like a very serious contender at the high end of the camera market. In a way the X-Pro1 has no direct competitors; its optical viewfinder and traditional stills-focused control layout sets it apart from the likes of the Sony NEX-7, and of course it's much less expensive than the camera it physically most resembles, the Leica M9-P, and operates rather differently too. This alone should ensure it a niche in the market, and we suspect many buyers will be delighted with it.The problem that Fujifilm faces, though, is that it's still an expensive camera in the grand scheme of things, and one that the company has seen fit to label 'Pro'. This means it inevitably has to be measured up against the best of its peers in all aspects of design and operation. But while it passes with flying colours in terms of image quality, certain operational aspects are still problematic; for example, we'd argue a professional camera that costs the best part of $2000 (with lens) should really offer a manual focus system that works properly in bright light.
So when all is said and done, the X-Pro1 is a very good camera, with excellent design and image quality, let down by a few small but significant operational bugs and quirks. Because of this - and for no other reason - it just misses out on our top award.
Scoring is relative only to the other cameras in the same category.
Click here to learn about the changes to our scoring system and what these numbers mean.
Click here to learn about the changes to our scoring system and what these numbers mean.
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Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality (raw)
Image quality (jpeg)
Low light / high ISO performance
Viewfinder / screen rating
Performance
Movie / video mode
Value
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Poor
Excellent
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Good for
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Photographers looking for a combination of excellent image quality,
traditional dial-based handling and discreet operation in an
interchangable-lens camera.
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Not so good for
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Shooting moving subjects, video work
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Overall score
79%
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The X-Pro1 marks Fujifilm's entry into the high-end mirrorless
interchangeable-lens market, and combines excellent image quality with
fluid handling. The hybrid optical/electronic viewfinder is excellent,
but autofocus is relatively slow and manual focus doesn't work very
well.
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