Fujifilm X-Pro2 Review

Mirrorless professional system camera Fujifilm X-Pro2

With the X-Pro2, Fujifilm finally announces the long-awaited successor of the X-Pro1, which founded the Fujifilm X system a good four years ago. Although Fujifilm remains true to the concept with the viewfinder housing design and the optical-electronic hybrid viewfinder, there are numerous technical innovations. The APS-C sensor X-Trans CMOS III, for example, has a resolution of 24 megapixels and is the first of its kind. The image processing processor is also brand new and more powerful than the camera actually needs.

Short evaluation

Pros

• High-quality processed, solid, splash-proof metal housing
• Unique optical-electronic hybrid viewfinder
• Fast hybrid autofocus
• Very good image quality up to ISO 1.600

Cons

• Cumbersome switching between ISO 25.600 and 51.200
• Fixed, touch insensitive screen
• Slightly lean battery life, which can be significantly extended by using the optical viewfinder
• Poor ergonomics due to high weight and missing handle.

With the X-Pro2 as the successor to the X-Pro1, Fujifilm took its time with almost four years. But the top model of the system again offers a lot of current technology. It is the first to introduce an APS-C sensor with 24 megapixel resolution into the X system. The modern multi-core processor also offers a high data throughput. Other cornerstones like the viewfinder and monitor resolution have been updated and the case is now splash-proof like the X-T1.

The X-Trans CMOS III is manufactured by Sony, which Fujifilm makes no secret of. The colour filter, however, corresponds to the Fujifilm specifications. The special color filter arrangement resembles the film grain and minimizes moirés and color artifacts without a low-pass filter while at the same time providing a high color resolution. The CMOS sensor itself uses Sony’s new copper cable technology, which is also used in the Alpha 7R II. Since copper has better conductive properties than the aluminum used so far, the sensor can work faster. New signal amplifiers also reduce noise. However, it is not a backward exposed CMOS sensor, the traces are still above the light sensitive layer. According to Fujifilm, it is the first APS-C sensor to use the new copper technology. Fujifilm thus benefits from Sony’s further development of the sensor without giving up its own unique X-Trans colour filter.

The Fujifilm X-Pro2 has not only the design of a classic rangefinder camera, but also a large optical viewfinder that turns out to be an optical-electronic hybrid viewfinder with useful digital fades. Fujifilm remains true to the old design with the X-Pro2 case, but improves the robustness of the metal case with seals that protect the interior from dust and water splashes.[Photo: Fujifilm]

Fujifilm X-Pro2 with 18-55 mm. [Photo: MediaNord]

But the new sensor has even more advantages. The live image, for example, can be read at up to 100 fps (frames per second), but the X-Pro2 makes use of a maximum of 85 fps for Live View. This is not the only point where Fujifilm obviously gives away performance, as can be read in the following two paragraphs. Back to the sensor: This now offers a sensitivity of ISO 200 to 51,200 in raw and JPEG. In addition, the X-Pro2 provides ISO “L” alias ISO 100. Furthermore, compared to the X-Trans CMOS II, the new sensor has a significantly larger range in which the integrated phase AF points are distributed. In terms of width, the area is growing from 40 to 50 percent, and in terms of height even from 40 to 75 percent. The autofocus now has 273 measuring points, 169 of them with phase recognition, previously 77 and 49. 40 percent of the total sensor area is now covered by the phase autofocus.

The new sensor is also supported by a new image processing processor, the X-Processor Pro with four times the computing power of the EXR Processor II. 480 megapixels per second can now be processed instead of the previous 120. 20 images with 24 megapixels resolution can be processed per second; the old processor had 7.5 images with 16 megapixels. Finally, a manufacturer also provides information about the processor cores used: The X-Processor Pro uses a Dual Cortex A7 with 500 MHz, while the EXR-Processor II used a Dual Cortex A4 with 312 MHz. The Cortex A7 is also supported by a DSP (digital signal processor), which can perform certain tasks with a particularly high data throughput (quasi in real time). In the old EXR processor II only a reconfigurable auxiliary processor was used. The new processor is capable of supplying an electronic viewfinder with 120 fps at XGA resolution. We remember: The sensor can “only” 100 fps, used only 85 fps (which is still faster than most competing models with their 60 fps).

The new processor even supports 4K videos with 30 fps, which is not used either. The succinct explanation: The X-Pro2 is designed for photos, the 4K video function is saved for a more multimedia model. In addition, the processor supports USB 3.0, but X-Pro2 does not use this either and is satisfied with USB 2.0. However, it uses the possibility to compress raw files with 14 bits lossless. Even though Fujifilm still leaves the potential of the sensor and especially of the processor with the X-Pro2, it makes use of it in other areas, as can be read again and again below.

 

The new APS-C sensor X-Trans CMOS III of the Fujifilm X-Pro2 resolves 24 megapixels and offers 169 integrated phase AF measuring points. [Photo: Fujifilm]

The Fujifilm X-Pro2’s 7.6-centimeter rear screen has an extremely fine resolution of 1.62 million pixels. The electronic part of the viewfinder even achieves a resolution of 2.36 million pixels. [Photo: Fujifilm]

A highlight of the X-Pro1 was and is the hybrid viewfinder, as it is also used in the X-Pro2. This is the enhanced technology on the X100T that allows the electronic viewfinder to be faded in the corner of the optical viewfinder to control focus, exposure or white balance. The hybrid viewfinder is an optical viewfinder in which an electronic viewfinder image is mirrored or superimposed. This not only allows displays such as illuminated frames for the focal length section and parallax correction to be displayed, but also allows a purely electronic viewfinder image to be displayed with switching. The electronic viewfinder is an invaluable advantage especially in the macro range, where parallax compensation is no longer effective, with large lenses that protrude into the field of view of the optical viewfinder and with extreme wide-angle and telephoto focal lengths. In all other situations, the optical viewfinder provides the more natural, clearer image. A new feature is the possibility of fading in illuminated frames for different focal lengths in order to be able to attach the appropriate fixed focal length lens.

The electronic viewfinder uses a 2.36 million pixel LC display. The viewfinder magnification is only 0.6x, which means that the viewfinder is significantly smaller than, for example, the X-T1. Thanks to the fast processor, the dark time of the electronic viewfinder is only 150 milliseconds when recording. New compared to the X-Pro1 is the adjustable diopter correction, but the eyepoint of only 16 millimeters is still quite small; nothing for eyeglass wearers. In optical mode, the viewfinder offers 0.36x and 0.6x magnification. The magnification is automatically adjusted depending on the lens to cover a larger focal length range (in the telephoto range now up to 140 instead of 60 millimeters).

The metal housing of the X-Pro2 looks similar to that of the X-Pro1, but it has grown somewhat, has been ergonomically improved and now offers thanks to 61 seals a splash water and dust protection like the X-T1. Thus, for example, in rain or in dusty environments with appropriately protected lens can be photographed carefree. The X-Pro2 should also be immune to frost up to -10 degrees Celsius. The new rubber grip contributes to improved ergonomics. Although the X-Pro2 still has a “brick housing”, its sheer size makes it easy to hold on to, as we’ve already been able to test it out.

The exposure time wheel of the Fujifilm X-Pro2 now also includes an ISO sensitivity wheel. The combination is smart and easy to use at the same time. [Photo: Fujifilm]

On the first flash, the Fujifilm X-Pro2 looks quite flat, but in reality the camera is over 14 centimeters wide but over 4.5 centimeters thick. [Photo: Fujifilm]

A new feature is the ISO wheel built into the exposure time wheel. By pressing the button in the middle of the wheel, the exposure time can be adjusted as usual (the aperture of most lenses is set via the aperture ring or aperturer). If the edge of the control dial is pulled upwards, the sensitivity can be adjusted. Both require some finger acrobatics, but make the heart of a lover of fine mechanics beat faster. The set values can also be read when the camera is switched off. There is now a new custom position on the exposure-compensation dial where the exposure-compensation range of +/-5 EV can be selected using the additional front e-dial. In the back there is also another dial. Both can also be pressed like a button, which further improves handling according to Fujifilm. There are also six configurable function keys.

One of the function keys is assigned to the video function by default, without it being possible to recognize this, as the key does not have a red dot as is usual with video recording keys. So Fujifilm still treats the video function somewhat neglected in the X-Pro series, the camera is designed for photographers. The deliberate omission of the 4K video function is only further proof of this. If you reconfigure the function key, you can no longer record videos. Otherwise, the X-Pro2 can record good Full HD videos with 24 to 60 fps, manual exposure adjustment and the selection of film simulation modes is also possible.

Also the improved autofocus works really fast in practice, but was sometimes a bit unruly in dark interiors and did not always find its target reliably. As this is a near-series pre-series model, this can be improved even further. The autofocus should take 0.06 seconds to focus, plus 0.05 seconds shutter release delay. According to Fujifilm, the recording interval is only 0.25 seconds (twice as fast as with the X-E2S also introduced today), the switch-on time is 0.4 seconds. The proven manual focusing aids such as focus magnifier, focus peaking and digital layplan are also available. Continuous focusing at up to 8 fps is possible with continuous shooting. The contrast autofocus as part of the hybrid autofocus system should even work twice as fast as with previous X-system cameras, resulting in the fastest autofocus of all X-system cameras to date. For the first time, the X-Pro2 also offers a joystick for quick selection of the focus point or focus range.

The housing of the Fujifilm X-Pro2 is protected by 61 seals against splash water and dust. Even frost of up to -10 degrees Celsius does not interrupt the function. [Photo: Fujifilm]

In addition to a TTL system flash shoe, the Fujifilm X-Pro2 also has a flash sync socket. [Photo: Fujifilm]

The X-Pro2 is reserved for the new black-and-white film simulation mode “Acros” with very finely tuned tonal gradations, deep black and excellent detail reproduction. It is said to be far superior to previous black and white modes. The component is a film grain effect in three strength levels, which exploits the computing power of the new processor for its natural appearance. This is why this mode is not available in other cameras. For black and white fans, this should certainly be a highlight. There are also some creative filter effects like “pinhole camera” or “miniature” as usual, and the other film simulation modes including “Classic Chrome” are also available.

The mechanical closure has been improved. It offers a fastest shutter speed of 1/8,000 second, the fastest flash sync speed is 1/250 second. The closure works particularly quietly and with little vibration. The electronic shutter, on the other hand, is completely silent and allows short exposure times of up to 1/32,000 second. Also new is the 7.6 cm screen with a particularly fine resolution of 1.62 million pixels. Fujifilm has tried to make the menu, which is almost overloaded with numerous functions, somewhat clearer. Whether or not this was successful may well be a matter of opinion or habit. Anyway, in addition to the Quick Menu with its 16 selectable functions, there is now also a “My Menu” with 16 functions.

The interval recording function is also practical. In addition, the X-Pro2 has built-in WLAN, which allows wireless image transmission to smartphones, tablets and PCs. With the help of the corresponding free Fujifilm app, the X-Pro2 can also be remote controlled including live image transmission. The new, extended App Camera Remote 2.0 will be released today in the corresponding app stores. The new dual SD card slot should not go unmentioned. Slot 1 is even compatible with UHS-II cards for extra fast image storage, Slot 2 functions as a normal UHS-I slot. Both slots are compatible with SD, SDHC and SDXC. By using two memory cards, the memory can alternatively be expanded or a backup can be created via simultaneous storage.

The additional MHG-XPRO2 handle from Fujifilm costs just under 130 euros and also offers an Acra-Swiss compatible recording. [Photo: Fujifilm]

With the additional handle MHG-XPRO2, the Fujifilm X-Pro2 can also be held better. [Photo: Fujifilm]

The BLC-XPRO2 leather case protects the X-Pro2 from damage. A wrapping cloth is also included in the scope of delivery of the 100 Euro expensive case. [Photo: Fujifilm]

Fujifilm offers the purely mechanical MHG-XPRO2 additional handle as an accessory especially for the camera for better grip. The handle, which costs almost 130 euros, also functions as an Arca-Swiss compatible quick-release plate. The BLC-XPRO2 leather case also protects the camera during use. The 100 Euro bag comes with a wrapping cloth to protect the camera during stowage.

Ergonomics and workmanship

The X-Pro2 remains true to the design of the X-Pro1, but not without improvements in detail. The housing continues to be made of robust light metal and makes an absolutely high-quality, durable impression. New are the seals for protection against splash water and dust, which can also be found on the battery compartment as well as on the double memory card compartment, with which the X-Pro2 in terms of ruggedness is on a par with the X-T1. This includes frost protection up to -10 °C. The handle has also been slightly improved, even though it is only slightly more pronounced. The system camera, which weighs a good 485 grams, is therefore somewhat cramped in the hand due to its high weight. If the left hand supports the lens, it can be held much more relaxed.

The greatest special feature of the X-Pro series remains the optical-electronic hybrid viewfinder. The optical viewfinder offers an unadulterated view of the subject, but also has some disadvantages. This way, the sharpness cannot be seen directly, moreover, some used lenses protrude into the viewfinder. Thanks to the automatic switching of the magnification, the viewfinder is still suitable for light telephoto focal lengths. Thanks to hybrid technology, electronic displays can be superimposed on the optical viewfinder image. For example, a digital focus magnification can be faded in. In addition, an illuminated frame shows the approximate image section and shooting settings are displayed at the bottom.

If you switch to the electronic viewfinder, there is a better and trouble-free preview of the actual image section, and you can now see a white balance and sharpness preview. Depending on the environment, the electronic viewfinder image may be brighter or darker than the real one. In bright sunshine, for example, the electronic viewfinder cannot shine as brightly as the optical viewfinder, but the electronic viewfinder offers better residual light amplification in low light conditions. With the X-Pro2, in any case, both fan camps are served and even those photographers who sometimes prefer the one and sometimes the other viewfinder.

The electronic viewfinder has a fine resolution of 2.36 million pixels, and thanks to the use of an LC display, there is no flickering like with OLED viewfinders. With 85 frames per second, the electronic viewfinder image also reacts very quickly. With a 0.59x magnification equivalent to a small picture, the electronic viewfinder is not one of the largest, however, a tribute to hybrid technology. Also the exit pupil is quite small, so that eyeglass wearers cannot see the viewfinder completely. Anyone who can will therefore certainly resort to dioptric correction. In addition to the viewfinder, the X-Pro2 features a 7.6 centimeter rear screen that resolves very fine 1.6 million pixels. However, it is neither movable nor is it a touch screen.

Mechanical operating elements are in the foreground during operation. The aperture of the higher quality lenses is set on the aperture ring of the lens. Exposure time and ISO sensitivity are controlled by a common wheel on the top of the camera. To adjust the sensitivity you have to pull the outer ring upwards, to adjust the exposure time hang hang the middle button pressed. This is fun and does not change by itself, but the ISO sensitivity window moves depending on the exposure time and the setting is somewhat fiddly. In addition, the wheel cannot be used to switch between ISO 25.600 and 51.200, although this will certainly only be needed rarely. The mechanical wheels also have one advantage: the set value can be read even when the camera is switched off.

Although Fujifilm has improved the handle of the X-Pro2, the clumsy camera with its brick format doesn’t get really handy.

With the Fujifilm X-Pro2, exposure time and ISO sensitivity are set with a smart combination wheel. The exposure-compensation wheel, on the other hand, rotates a little too easily.

On the front side, however, the X-Pro2 also offers a clickable adjustment wheel that can adjust the aperture for lenses without aperture setting and also allows a finer adjustment of the exposure time. If the exposure time wheel is set to “T”, the second wheel can even be used to drive through the entire exposure time range and not only correct the preselected value. Another wheel is responsible for the exposure correction. However, this is quite exposed and rotates too easily, so it can be accidentally adjusted. The rest of the operation is carried out via many keys, five of which are unmarked and freely configurable. Fujifilm has thought of a joystick for the choice of the autofocus field. Further settings can be accessed via the extensive, programmable Quick Menu. The main menu itself is quite clear due to the vertical scroll lists, even if the pages are numbered consecutively. Thanks to the My-Menu, however, preferred menu items can be moved here and thus called up more quickly. In addition, some preferred settings can be stored in one of seven user memories.

Fujifilm remains faithful to the lithium-ion battery NP-W126, which is charged externally in the usual manner, but with 250 shots according to the CIPA standard it doesn’t offer too long a runtime. The battery compartment on the underside of the camera is also far enough away from the tripod thread arranged in the optical axis, at least for smaller tripod exchange plates. If power is needed for a longer time, for example for the interval function, a power supply unit can be connected via a battery dummy. The memory cards are removed in a separate compartment on the handle side. In particular, slot 1 must be observed, as only this slot is UHS-II compatible and thus achieves storage rates of over 100 MBytes per second. Shaft 2 is “only” UHS-I compliant. On the opposite side, the X-Pro2 offers a total of four interfaces. The flash sync socket is secured with its own screw cap, while the Micro-HDMI, Micro-USB and 2.5mm jack connectors are located behind a larger flap. The jack socket can accommodate either a stereo microphone or a cable remote control. As a retro camera, the X-Pro2 even offers a real cable release thread in the release.

Equipment

The Fujifilm X-Pro2 is truly not a camera for automatic photographers. Although the aperture ring or aperturer, shutter speed wheel and ISO wheel can be set to a red auto position, the exposure-compensation wheel remains active like all other manually selected settings. The X-Pro2 doesn’t offer an “idiot-safe” automatic, just as it doesn’t offer motive programs, a program selector wheel is missing anyway. The X-Pro2 is rather aimed at photographers who like to photograph semi-automatically or manually and invites with its controls. Nevertheless, it does not lack electronic effects, such as the typical Fujifilm film simulations. A new feature is the film “Acros”, a black-and-white simulation that can be adjusted in many parameters and which delivers great results directly from the camera to lovers of black-and-white shots. Those who additionally save in the raw data format, for example on the second memory card, play it safe and always have an original raw data image available.

Fujifilm doesn’t offer an HDR or panorama function, but it does, for example, offer a lot of bracketing functions. These include not only the classic exposure series, but also white balance series, dynamic series, film simulation series, etc. can be recorded. Even if you don’t see it on the X-Pro2, this mirrorless system camera offers excellent performance. The autofocus, for example, works as a hybrid with phase and contrast autofocus and, when triggered, focuses from infinity to two meters within 0.15 to 0.25 seconds. If you prefer manual focusing, you will not only receive support from a focus loupe, but also from focus peaking or a cut image simulation if desired.

The metal tripod thread of the Fujifilm X-Pro2 sits naturally in the optical axis. Small tripod exchange plates even allow free access to the battery compartment. [Photo: Fujifilm]

With the proven lithium-ion battery NP-W126, the Fujifilm X-Pro2 only takes 250 pictures. A second battery should therefore be included during longer photo tours.

The continuous shooting function is also hot. More than eight continuous shots per second including autofocus tracking speak for themselves, especially since the X-Pro2 maintains this speed for 30 raw or even more than 140 JPEG shots. A fast SDXC-UHS-II memory card in card slot 1 is required, but even when the buffer is full, the X-Pro2 records 6.4 JPEGs or 3.8 raws per second until the memory card is full. This corresponds to a write rate of over 100 MByte per second. The Transcend SDHC memory card used in the test could do even more with a write rate of up to 180 MByte per second. The mechanical shutter with 1/8,000 second shortest exposure time is in no way inferior to the high performance. If you want, you can even expose for up to 1/32,000 of a second, but then only with an electronic shutter and, depending on the subject, visible side effects such as the rolling shutter effect (line by line exposure).

The X-Pro2 owes its high recording and data processing rates to its powerful sensor with copper tracks and fast image processing processor. Both the sensor and the image processor as well as the memory card interface could easily enable 4K video recording. However, Fujifilm does without this in its top model and continues to use Full HD resolution conservatively, at least with fluid up to 60 frames per second. The X-Pro2 easily adjusts the focus during recording, the internal stereo microphone performs well and can be replaced by an externally connected one. The fact that the video function does not play a central role can be seen from the fact that the X-Pro2 does not have a video recording button. Instead, the Fn button on the top of the camera acts as such, unless you have assigned another function to it.

The X-Pro2 in particular, or Fujifilm in general, treats the flash topic somewhat stepmotherly. The X-Pro2 does without an integrated flash despite the massive case. A small attachable flash is not included. The TTL system flash shoe allows the use of compatible external flashes with all necessary settings, but the Fujifilm system unfortunately does not offer real wireless TTL. Thanks to the flash sync socket, the X-Pro2 also gets along wonderfully with studio flash systems.

Image processing in the camera offers only standard food with rotation, red-eye correction, crop selection and reduction for JPEGs. Thanks to the built-in raw data converter, this already looks better for raw recordings. In addition, the X-Pro2 supports direct printing on Instax printers, even jobs for photo books can be created with the camera. Thanks to WLAN, the X-Pro2 can also be used with modern smartphones, although no smartphone is required for wireless recording security on a PC. In any case, the free smartphone app allows not only image transmission but also remote control of the camera and also offers the option of transmitting position data, which works surprisingly well.

The Fujifilm X-Pro2 uses a new 24 megapixel APS-C sensor with copper technology from Sony, which has been combined with Fujifilm’s special X-Trans colour filter matrix.

The Fujifilm X-Pro2 offers a total of four interfaces, whereby the flash sync socket has a separate cover.

Picture quality

Of course, the question of image quality was particularly exciting, as it was not only the first Fujifilm X system camera with a 24-megapixel sensor, but also one of the first cameras with Sony’s new APS-C copper sensor. The copper technology not only promises faster data processing and thus lower noise, but also better light output due to the thinner lines. However, this is not a rear-exposed CMOS sensor.

In the test the Fujifilm XF 18-55 mm F2.8-4 R LM OIS was used as standard zoom. The mid-range lens on the X-Pro2 resolves up to 60 line pairs per millimeter (lp/mm) at 50 percent contrast (MTF50) in 35mm equivalent. This is a good value for a 24-megapixel sensor. To achieve this resolution, you have to use the zoom at medium focal length and open aperture. The resolution is lower with further dimming and at the edge of the image. However, apertures up to F11 can be used without any problems, here the lens has a resolution of just under 50 lp/mm at medium focal length. At the edge of the image, the resolution is only a maximum of 15 percent lower, which means only a small amount of edge waste. 50 lp/mm are also no problem at the edge of the picture. The resolution is slightly lower at the two ends of the focal length. There is a maximum of 55 lp/mm at the wide-angle center of the image and a maximum of 50 lp/mm at the edge of the image. Here, too, the edge drop is low at a maximum of 20 percent for a zoom, especially as it is the wide-angle focal length. In telescopic position, the resolution is lowest at 53 lp/mm maximum, but 50 lp/mm are also possible at the edge of the image and the edge drop is less than 15 percent.

The other lens related readings are also impressive, even considering that Fujifilm’s Lens Modulation Optimizer is a powerful tool. It’s what comes out the back that counts, and that’s good. For example, despite the digital corrections, the edge resolution is high. Thus chromatic aberrations remain small, also the distortion plays no large role. It is still the largest at wide-angle, but is well below one percent of a ton and is therefore hardly noticeable. The edge darkening amounts to a maximum of half an aperture step and thus less than 30 percent light loss. The smooth progression of the decrease in brightness also ensures that this is practically not noticeable. The XF 18-55 mm F2.8-4 R LM OIS is therefore an all around recommendable standard zoom for the X-Pro2, if it should not be one of the high-quality fixed focal lengths. Only a splash water protection fitting to the camera is missing for the lens, which can be classified as a middle class zoom in terms of price and speed, but whose image quality is rather in the upper class.

The signal-to-noise ratio of the new sensor starts at ISO 100 at a high level of over 40 dB and only falls below this level above ISO 400. Up to ISO 3,200, the value remains within the acceptable range with over 35 dB. In direct comparison to the predecessor model X-Pro1, the signal-to-noise ratio is up to ISO 3,200 below the level of the X-Pro1, however, from ISO 6,400 on, X-Pro1 and X-Pro2 are equal. The noise of the X-Pro2 is fine-grained, but above ISO 3.200 brightness noise becomes visible, color noise doesn’t matter. Here the behavior is comparable with the X-Pro1. The noise reduction already causes slight losses of fine textures from ISO 800, but this only becomes noticeable from ISO 3.200. The level is slight, but not dramatically below that of the X-Pro1.

The memory card slot is located on the handle side of the Fujifilm X-Pro2, which is particularly easy to access.

Only slot 1 of the dual card slot of the Fujifilm X-Pro2 supports the fast UHS-II standard and achieves write rates beyond 100 MB/s in practice.

The input dynamics of the X-Pro2 move by about ten f-stops. A good, but not as outstanding value as the X-Pro1, which had up to eleven f-stops. With a well distributed tonal value curve for a crisp image reproduction, the output tonal value range of very good almost 256 steps decreases continuously from ISO 100 to, at ISO 3.200 it is just good with 160 steps. The colour reproduction is amazingly neutral. Although there are some minor deviations for a somewhat more beautiful image reproduction, the overall deviations remain within reasonable limits. The actual colour depth of over four million colours up to and including ISO 3,200 underlines the good colour rendition of the Fujifilm X-Pro2.

Fujifilm X-Pro2 comes also in graphite

As with the X-T1, Fujifilm is now launching a silver color version of the X-T2 with a noble coating. In addition, the X-Pro2 also gets a noble color variant, which is much darker with graphite. The X-Pro1 was always available in black. The colour variants are created by a three-coat coating, whereby the first two coats are identical and only the last colour differs, giving the X-Pro2 a darker shade. While the X-Pro2 comes with a lens in a bundle, the X-T2 comes with only one flash.

 

The noble triple coating of the Fujifilm X-Pro2 Graphite consists of a deep black primer, a graphite silver coating and finally a clear lacquer layer with black particles, which provides the dark colour. [Photo: Fujifilm]

The included Fujinon XF 23 mm F2 R WR lens and the matching metal lens hood are also graphite-coated like the Fujifilm X-Pro2. [Photo: Fujifilm]

Technically, the Fujifilm X-Pro2 Graphite corresponds to the black series version. The rear 7.6cm screen of the Fujifilm X-Pro2 has a very fine resolution of 1.6 million pixels, but the highlight is the optical-electronic hybrid viewfinder. [Photo: Fujifilm]

The first of the three coats is a deep black primer, which should make the highlights stand out particularly well. The second layer of paint is based on a special multiple coating. Ultra-fine paint particles are applied to the rotating camera housing in wafer-thin layers, creating a velvety graphite-silver shade. The last layer of the X-T2 is a clear coat that provides the necessary gloss. In the X-Pro2, black particles are added to the clear coat, which gives it a darker shade.

Technically, the X-Pro2 graphite and the X-T2 silver graphite correspond to the black color variants. They are characterized by the 24 megapixel APS-C sensor with the X-Trans color filter arrangement.

Bottom line

The Fujifilm X-Pro2 is not only a little bit better than the X-Pro1 in terms of the extremely good case processing including splash water, dust and frost protection, but above all in terms of performance. The autofocus works very fast and also the continuous shooting speed as well as the storage time are on a very high level, worthy of a top model. It’s a shame that Fujifilm sacrificed the 4K video function, which was easy to realize in terms of performance, to its image as a photo camera. In any case, the X-Pro2 is a digital camera for lovers of dedicated controls who like to put their hands on the settings themselves. Automatic photographers should rather choose another model. Thanks to the film simulation modes including the new, ingenious black-and-white “Film” Acros, photographers for whom creativity doesn’t end with the setting of aperture and exposure time also get their money’s worth. In particular those photographers who like to have a finished individual result directly from the camera, which they have set live on the subject, get a good tool for it with the X-Pro2. The image quality of the new 24-megapixel sensor can be described as good overall, even though some measured values do not come close to those of its 16-megapixel predecessor. The X-Pro2 is certainly not a high-ISO monster. The resolution, however, is undoubtedly higher and especially the colors of the X-Pro2 can only be praised.

Fujifilm X-Pro2 Datasheet

Firmware update 5.00 for the Fujfilm X-Pro2 and bugfixes for others: New features and bug fixes

Fujifilm provides new firmware updates for numerous cameras and two lenses. With the X-T10, X-T20, X-E2, X-E2S, X-E3, X-T2, X-H1, X100F, GFX 50S and the two lenses XF 18 mm F2 R and XF 60 mm F2.4 R Macro, there are only minor bug fixes and function updates for the X-T10, X-T20, X-E2, X-E2, X-E3, X-T2, X-H1, X100F and GFX 50S, whereas the X-Pro2 receives numerous new functions with the update 2.00.

For the X-Pro2 the firmware update 2.00 brings numerous new functions. The displays or indicators in the live image can now be enlarged and individually positioned to make them easier to read. In addition, there is now a flicker reduction function, which is especially useful for continuous shooting indoors. You can also create and select folders to save the following recordings. The first five letters can be selected individually. Furthermore, new algorithms provide a significantly improved phase autofocus. It now works up to F11 instead of F8, needs only minimal -1 EV light instead of 0.5 EV as before, which significantly improves the low-light capabilities. In addition, the AF-C is much faster and more reliable for continuous shooting, and fine details such as fur or feathers are focused more reliably. Finally, the X-Pro2 supports the X Acquire software after the update, which allows the camera settings to be saved and loaded on the PC.