Fujifilm X-M1 review

Fujifilm seems to have a knack for designing truly luxurious compact cameras. We loved the Fujifilm X100S, which delivered the best ergonomics and image quality we’ve ever seen from a compact camera. The gorgeous retro design didn’t harm its appeal, either.

The X100S’s 35mm (equivalent) lens suits a wide range of shooting environments, but having a fixed lens with no zoom function isn’t to everyone’s tastes. That’s where Fujifilm’s X Mount compact system cameras step in. There are currently three models, all of which use the superb 16-megapixel sensor used in the X100S. The X-Pro1 (around £1,200 including VAT) sits at the top of the range, and includes the hybrid viewfinder technology that impressed us so much in the X100S. Then there’s the X-E1, which costs around £900 and has a simpler electronic viewfinder.

The most recent addition is the X-M1. It costs £672 and lacks a viewfinder or dials for direct control over the shutter speed, aperture and exposure compensation. Its body is made of plastic rather than aluminium, but there’s enough retro style to make it look like part of the family.

HANDLING AND FEATURES

Considering this is the entry-level model, it’s still pretty expensive – other CSCs are available for half the price (a cheaper X-A1 model is widely rumoured but not yet announced as we go to press). However, various features position it closer to mid-range models in other ranges. There’s a hotshoe for an external flashgun, plus integrated Wi-Fi for transfers to iOS and Android devices. The articulated screen, dedicated mode dial and dual command dials also distinguish it from many cheaper rivals.

Even so, with no viewfinder – or option to add one – it falls behind on features to the similarly priced Sony NEX-6 and Panasonic G6. It’s also relatively bulky for a CSC, at 531g with its 16-50mm kit lens. That’s only a fraction lighter than the SLR-styled Panasonic G6. Most other CSCs weigh between 320g and 460g.

There’s no electronic viewfinder here, and no way to add one

The Wi-Fi implementation is relatively simple, with no remote shooting function. Transfers are managed either on the camera or the connected smartphone or tablet, with an option to resize photos to 3 megapixels before transfer. Rather than using a password, the connected device must be confirmed by clicking OK on the camera. This works well on Android devices, where the Fujifilm app can manage the Wi-Fi settings automatically. The iOS app was less successful, with numerous “Not Found” messages before we got the camera, app and iPad’s Network Settings to work together at the same time.

The app doesn’t allow for remote shooting

The app can also use the smartphone’s GPS radio to geotag photos. Rather than keeping a log, the app and camera must be synchronised manually each time you want to update the GPS position. Still, once we figured out what to do, it worked well with our Android phone.

CONTROLS AND PERFORMANCE

Taking photos was a pleasant experience. The controls are well laid out, with dedicated buttons for autofocus point, white balance, drive mode and ISO speed (the latter being the default for the customisable Fn button). Meanwhile, pressing the Q button reveals a grid of 15 functions on the screen, navigated using the rear pad and adjusted with either command dial.

Having dual dials pays off in priority and manual exposure modes, giving direct access to exposure settings. The dial on the top plate is easily adjusted by accident, though. We often found that exposure compensation had been inadvertently changed. The sharp 3in screen tilts up and down by 90 degrees for waist-height or overhead shooting, but not all the way over for self-portraits. We’d have preferred a touchscreen for quicker navigation of the Q menu and autofocus point adjustment, but the rear pad handles these tasks reasonably quickly.

We noticed some odd behaviour during our tests. At one point the camera complained that it had run out of numbers to assign to photos, and refused to take any more until we reset the numbering system. We’re told by Fujifilm that this is to avoid having photos with duplicate file names, but stopping taking photos altogether doesn’t seem like a practical solution. Why not just use longer file names? Another problem was that adjusting the zoom sometimes caused the screen to go blank for about a second. We eventually narrowed this down to a small amount of movement between the lens and camera – simply twisting the lens barrel (rather than the zoom ring) had the same effect. We’re assured that this fault hasn’t been seen on other X-M1s and would be covered by the warranty.

Autofocus was responsive, taking less than half a second to lock onto subjects. We measured one second between shots in normal use – a respectable result but half the speed of the fastest CSCs. It fared better in continuous mode, capturing 42 frames at 5.5fps before slowing slightly to 4.4fps. Raw capture lasted for 11 frames before slowing to 1.4fps.

VIDEO AND IMAGE QUALITY – CLICK SAMPLES TO ENLARGE

Unlike the X100S and the other X Mount cameras, the X-M1 has a dedicated video record button. Videos are recorded at 1080p at 30fps with stereo sound, and the 37Mbit/s bit rate keeps compression artefacts at bay. The autofocus was responsive and quiet, but picture quality was undermined by aliasing artefacts. Diagonal lines had a pixelated appearance and repeating patterns such as fabric resulted in heavy moiré interference. This isn’t a camera for keen videographers it’s fine for casual clips.

It’s hard to imagine anyone being disappointed by the X-M1’s photo quality. The unusual X-Trans sensor design dispenses with an optical low-pass filter to give exceptionally sharp details, for more details on how it combats Moire without such a filter see here. The lens delivered on its side of the deal too, with crisp focus and only a slight falloff towards the edges of frames. Meanwhile, the Dynamic Range function did a superb job of reining in over-exposed skies and other highlights. As a result, JPEGs exhibited the kind of detail and dynamic range that we normally only see by shooting raw. Raw mode is available too, of course; processing shots in Lightroom produced even sharper details.

Details in JPEGs are impeccably sharp

There’s no shortage of detail in the darker areas of this high-contrast scene, and the bright blue sky is perfectly exposed too. The raised ISO speed is a by-product of the Dynamic Range function, but there’s no hint of noise here

Developing raw files in Lightroom 5 boosts details even further

The sensor and JPEG engine also excelled for low noise levels. Indoor shots in ambient sunlight showed barely any hint of noise. Photos taken under household artificial light at ISO 6400 looked sharp and smooth and normal viewing sizes. We were even able to capture usable snaps at ISO 12800, although this and ISO 25600 are limited to JPEG output only – the raw mode maxes out at ISO 6400. Noise levels were significantly lower than from Sony NEX cameras – previously our benchmark for low noise from a CSC. They were also lower than from any cropped-sensor SLR we’ve seen to date, and closer to full-frame SLRs. It’s a phenomenal achievement.

This indoor shot is remarkably smooth and detailed – skin textures are the hardest test for noise reduction and the X-M1 passes with flying colours

ISO 6400, and there’s a bit of noise in the darker areas but still lots of fine detail

Skin textures at ISO 6400 look a little vague but there’s still very little visible grain

Comparing the shot above with the Sony NEX-3N – itself a fine performer for low noise, the X-M1’s JPEG output is much smoother. Comparing their unprocessed raw output shows just how little noise the X-M1’s sensor produces, although Lightroom is able to spruce both files up pretty well

Shooting by the light of two LED nightlights, there’s not much detail but this shot is fine for sharing on the web

CONCLUSION

Considering that the Fuji X Mount has only been around for less than two years, it’s encouraging that there are already 12 lenses available or coming soon. They’re not cheap, though. The eight models currently on sale range from £380 to £700 including VAT. There’s a 55-200mm telephoto lens that costs £600 – similarly specified lenses for rival CSCs cost around £250.

There’s a good range of lenses, but they aren’t cheap

That’s the crunch with X Mount cameras. They’re a cut above the competition for image quality, and Fujifilm knows it and charges accordingly. We suspect that people with the means and the inclination to buy one might be tempted to spend even more on the X-E1 with its electronic viewfinder and superior controls. However, if £700 is your budget, the X-M1’s exquisite image quality is seriously tempting compared to better-featured rivals.