Fujifilm X-H1 Review - Review 2022

We've recommended the Fujifilm X-T2 equally our Editors' Choice in the loftier-end APS-C mirrorless camera category since information technology was introduced. Now it has a more premium sibling, the X-H1 ($1,899, body only), which uses the aforementioned sensor, simply adds in-torso stabilization and more serious video features. In that location are some ergonomic changes, equally well including a deeper handgrip and the omission of an EV control dial. The X-H1 carries a $300 premium over the X-T2, and is close in cost to the $ane,999 full-frame Sony a7 Iii, which is just equally capable in many ways. Just if you've decided that the APS-C sensor size is a improve fit for you lot, the 10-H1 is the best option in its price bracket, and our Editors' Choice.

Design

The X-H1 doesn't look much different from the X-T2 at get-go glance. It'due south finished in black (we'll have to wait and run across if it receives the Graphite Silver special edition treatment that Fujifilm has given to other marquee models), and is just slightly bigger all effectually, with a noticeably larger handgrip. The camera measures three.eight past 5.5 past 3.iv inches (HWD) and weighs 1.5 pounds. Compare that with the X-T2, which is 3.vi by 5.2 past 1.nine inches and weighs 1.1 pounds.

The extra weight is due to the photographic camera's internal structure. Its magnesium alloy chassis is 25 percent thicker than the X-T2's ($one,599.00 at Amazon) , and there's extensive sealing to protect its internals from dust and moisture. It'southward rated to operate in extreme temperatures equally well—as depression every bit 14 degrees Fahrenheit. I shot with the X-H1 during a snowy nor'easter and it worked merely fine.

The larger size allows for a deeper handgrip, a big plus if you're pairing the camera with a long lens like the XF 100-400mm. I similar the design modify, merely photographers with smaller hands may feel that the grip is a flake too deep.

The shutter release is angled atop the grip, and has a responsive, bound-similar feel in action—another comeback in ergonomics. The Ten-T2'south shutter is flat atop its top plate, which is fine for its more than pocket-sized frame, but for shooting with a big lens I tend to adopt a deeper handgrip with an angled shutter release.

There are a number of on-body controls, as you'd expect from a pro-grade camera. On the pinnacle plate, to the left of the hot shoe, is a dedicated control dial. Information technology's a nested design, with ISO on top and bulldoze control at the base. Drive modes include unmarried, iii speeds of continuous shooting, automated bracketing, a panorama setting, and a video manner. The ISO command is useful, only I don't similar one aspect of its design. It tin exist adjusted from ISO 200 through 12800 in third-terminate incremements, and as well has an A (automatic) position, which can vary the ISO across that aforementioned range. There'south an Fifty setting, for ISO 100, and an H setting, which needs to be programmed for either ISO 25600 or ISO 51200. The camera is actually capable of producing useable images at both settings (in Raw format), and it'due south a pain to accept to dive into the software to accommodate the H value. I'd love to see the A position be able to use 25600 and 51200, which would take a elementary firmware ready.

Just adjacent to the dial, at an bending on the EVF hump, is a diopter control for the viewfinder. The hot shoe is centered at the top behind the lens, and supports external flashes and accessories. The shutter speed dial is just to the right of the EVF and is besides dual-level; the base of operations adjusts the metering pattern. There are four options—Spot, Center Weighted, Multi, and Average. You lot'll want to utilise Multi for nearly shots, as it uses scene recognition to intelligently evaluate the frame to determine the best exposure settings. Spot and Center Weighted are good choices for shots with greatly mixed lighting, including those with a strong backlight. I didn't find much use for the Boilerplate setting, though it can help the camera better nail exposure for portraits of subjects dressed in blackness or white. Pay attending to the position of the metering lever; I constitute that it was prone to slipping out of identify when moving in and out of a photographic camera bag. It's not as tight equally the similar Drive dial, which didn't movement during our review.

The monochrome information LCD takes up the rest of the space on height. It's backlit, with a button correct adjacent to it to activate the calorie-free, and shows exposure settings and other information. The aforementioned shutter release sits ahead of information technology, along with a button for EV compensation command. The display shows exposure, the active picture simulation fashion, and other sundry data. It's also backlit, so you tin see it when working in dim conditions, just none of the other controls are. We haven't seen backlit command buttons on a mirrorless camera as of nonetheless, but the Nikon D500 SLR ($one,496.95 at Amazon) , which is a direct competitor to the X-H1 in terms of function and price, includes them. They're a large plus for working in a dim studio and for astrophotography—control buttons are difficult to use if information technology'south too dark to read them.

The top LCD takes the place of the X-T2'south dedicated EV bounty dial. I'm a fan of the dial approach, only non everyone is. I prefer the quick, instant control you become from a single dial, too every bit the big visual reference. Some other cameras without a dedicated EV dial, like the Nikon D500, allow you to utilise the rear command punch for dedicated EV adjustment. The 10-H1 doesn't—you lot'll need to press the tiptop EV button while turning the rear dial to adapt the setting.

The Delete and Play buttons are on the rear, well-nigh the superlative, to the left of the eyecup. To their right are AE-L and AF ON buttons, along with the rear command dial. In that location'south a modest focus joystick—for quick changes of the active focus signal or points—simply to the right of the rear LCD, accessible using your right pollex. Below it is a four-way command pad, with the Carte du jour/OK button at its heart, and the Display/Back button.

Rounding out the physical controls is the Q button. It's located on the rear panel, on a bump on the far correct side that doubles as a pollex remainder. It launches an on-screen control menu for direct aligning of a number of other settings, including the film simulation mode for JPGs, the file format, dissonance reduction, LCD brightness, face detection, and others. It can be navigated using rear controls or via the touch on LCD.

The 3-inch rear display is mounted on the same type of hinge as the X-T2 and has a ane,040k-dot resolution. Information technology can tilt up and down as normal, and has an additional hinge to face toward the right. It's practiced to accept this amount of adjustment, but I would have liked to take seen Fuji use a true vari-bending display, one that can swing out to the side and confront all the fashion frontward, for a photographic camera with every bit robust video options as the X-H1.

There's too an EVF, a given on a pro mirrorless body. Information technology'southward a 0.5-inch OLED design with a very crisp 3.69-meg dot resolution (an upgrade from the two.63-million dot finder used by the X-T2). The magnification is 0.75x, a niggling less than the 0.77x X-T2 finder, simply the departure is negligible. It refreshes quickly, 100 times per second, so you can effectively rails fast-moving action.

Features, Ability, and Connectivity

Fujifilm cameras take long included Flick Simulation modes—basically custom JPG settings that are tuned to emulate movie stocks of yesteryear. The X-H1 includes all the ones we've grown used to, ranging from the muted colors of Classic Chrome (Fujifilm's accept on former rival Kodak'south Kodachrome) to the intense hues of Velvia and the monochrome tones of Acros, with many options in betwixt. For fans of grain, each film has a customizable corporeality, with Low or High settings, or you lot can opt for no additional grain if you prefer a cleaner epitome.

The X-H1 has a new option, Eterna, which is modeled subsequently Fujifilm's motion motion picture stock. It's a bit muted in colour tone, and lifts up the blacks to show better detail in shadows. It'south intended for utilize in video, but you tin can apply the look to nonetheless images equally well.

The camera also sports an intervalometer function for time-lapse photography. Images are saved indivudally, rather than in a video file, so you'll take to put them together using software if a video is what yous're after. You can prepare intervals as short as ane second and as long as 24 hours, for a set number of frames up to 999 or as long as the camera is powered. Information technology's a feature nosotros've come up to expect in premium cameras and information technology is good to come across it here—with the 24MP however resolution you can render out time lapses at 6K resolution.

There's as well an add together-on grip available, the Vertical Power Booster Grip ($329), which tin can be bought in a parcel forth with the camera for $2,199, a modest savings. The grip does a few things—it holds two additional batteries, extends the maximum video prune length from 15 to 30 minutes, adds a 3.5mm headphone jack, and ups the top shooting rate with the mechanical shutter from 8 to 11fps. It is besides a charger, and so you tin recharge all three batteries at one time.

Adding the grip makes the X-H1 a bulkier camera. It adds 1.ix inches to the height and 12.3 ounces of mass. I typically prefer a smaller camera—shooting with a Nikon D5 or Canon EOS-1D Ten Marker 2 with their big, integrated vertical shooting grips is not my favorite thing to do. Simply the grip is available if you prefer a beefier body, or only desire to extend the shooting life and boost the X-H1's speed.

The grip includes a toggle switch to enable Boost shooting, which draws ability from multiple batteries simultaneously to better the speed of the already reponsive 10-H1. It also has a focus joystick, merely like the ane on the body, dual control dials, a shutter release with surrounding Lock push, and an EV compensation button. These are all in pretty much the same identify as they are on X-H1 body, so you'll mostly feel as comfy using it in portrait orientation equally you practise in landscape.

A couple of buttons practise change size and position. The AE-L and AF-ON buttons are on the grip, but they're smaller than their on-body counterparts and not as comfortable to press. The Q button has been moved— it's closer to the shutter release on the grip, but I'g a bit surprised that it's included at all. The on-screen Q menu doesn't rotate, and then you'll be looking at it sideways if yous desire to adjust settings when shooting in portrait orientation.

The X-H1 has the normal array of wireless communication tech, both Bluetooth and Wi-Fi. They piece of work with the Fuji Photographic camera Remote app, for Android and iOS, and then y'all tin transfer photos to your smartphone for social sharing.

Physical connections include micro HDMI, micro USB three.0, a 3.5mm microphone jack, a two.5mm remote control connection, and a PC sync wink terminal. There are dual SD carte slots, both supporting the latest formats and UHS-Ii speeds.

The battery charges exterior the camera. It's rated for 310 shots per accuse, but only 35 minutes of video recording. This is something I institute to be limiting in real-world use. I was shooting a mix of images and video for this review, and even in shorter photograph walks I constitute myself using the Booster Grip to extend shooting time. The amount of power used past the video recording arrangement played a big part. It's a shame that Fujifilm didn't manage to clasp a larger battery into the body, equally Sony did with the a7 III ($ane,999.99 at Best Buy) .

Performance and Autofocus

Start-up fourth dimension, the elapsing between flicking the power switch to the On position and capturing an in-focus image, is about 0.8-second on boilerplate. That's a solid consequence for a mirrorless photographic camera, especially when you consider that the in-body stabilization arrangement has to ready itself before shooting. Autofocus locks on fairly apace, about 0.1-second in bright light and in very dim weather condition. The latter makes the X-H1 a strong option for outcome photography, as it doesn't lose a footstep when shooting in hard light. The autofocus system is essentially the same as you get with the 10-T2, but the low-light focus effigy is improved due to better sensitivity—the X-T2 requires well-nigh 0.three-second to lock focus in dim conditions.

See How We Test Digital Cameras

The 10-H1 is congenital for speed. On its own it can shoot at 14fps with its electronic shutter or 8fps with the mechanical focal airplane shutter. Adding the Booster Grip ups the mechanical shutter capture rate to 11fps. The shooting rate varies a bit; the X-H1 incorporates flicker reduction for burst shooting. If y'all're working under fluorescent or mercury lights the camera will accommodate its firing rate in order to keep brightness consistent from shot to shot. And if you're working in AF-C mode the photographic camera can slow its charge per unit to ensure a high percentage of in-focus images—y'all can tune it to prioritize focus accurateness or speed. We left it at the default setting, which emphasizes speed, for testing, and were happy with the results.

You can too adjust how quickly the camera's focus arrangement works. There are several presets available. A multi-purpose option is the default, but you can change the autofocus system to prioritize subject tracking while ignoring obstacles, to ameliorate keep focus on subjects that change speed, for subjects that suddenly pop into the frame, or for subjects that both alter speed and direction eratically. Each is illustrated in the menu with a typical apply case—track and field, nature photography, auto facing, ski jumping, and tennis, respectively. And each can exist fine-tuned, or y'all can brand your own custom setting with adjustable subject tracking sensitivity, speed tracking sensitivity, and focus expanse switching.

Just too go on in mind that you'll go the virtually responsive focus performance from the surface area of the X-H1 sensor covered with phase detection points. Phase detection covers the key tertiary or and then, lengthwide, with smaller strips at the tiptop and bottom that aren't covered past the focus expanse at all. The central square is flanked on both sides by contrast points, which are effective for locking on to targets, but non equally skillful when tracking moving subjects. Information technology's one of the best systems y'all'll come across in an APS-C mirrorless camera, simply if still photography is your main business organization and tracking moving subjects is primal—that is to say, if you live for sports, wildlife, and action photography—you'll get wider phase detection coverage with the APS-C Nikon D500 SLR or the total-frame Sony a7 Three mirrorless. Of course, if you opt for an SLR, yous'll lose quick focus for video—the D500 just has phase detection when using the optical viewfinder to shoot stills. That doesn't mean that the X-H1 focus is useless when you move away from the center of the frame; information technology's more than adequate for about subjects, only non as quick to react to changes at the center points.

In our tests, the X-H1 barbarous behind its rated pinnacle rated speed past a fraction of a second, notching 13.9fps with the electronic shutter, but did hitting 8fps when using the mechanical 1. The electronic shutter has the reward of existence silent, but can introduce movement baloney in images when shooting fast-moving subjects. The mechanical shutter is very tranquility, likely a issue of the photographic camera's extensive weather sealing, and then fifty-fifty though it fires very quickly, information technology doesn't add together a lot of noise to the environment.

Adding the booster ups the mechanical shutter speed to 11fps; we actually saw better numbers, almost eleven.7fps, in our speed tests. You will have to take the time to dive into the camera menu to enable this—even with the grip fastened and set up to its Boost mode, the default top speed stays at 8fps.

But how long tin yous keep up a brisk stride? It depends on the file format you use—the X-H1 shoots uncompressed Raw, compressed Raw, and JPG images—and the speed of your memory card. We tested the X-H1 with a Sony SDXC card rated for 299MBps write speed. When shooting at 8fps the camera manages 26 uncompressed Raw+JPG, 29 compressed Raw+JPG, 28 uncompressed Raw, or 42 compressed Raw before slowing down. Buffer clear times are virtually ix seconds for Raw+JPG and 7 seconds for Raw. Yous tin keep shooting JPGs at 8fps for as long as you want when using a fast retentivity card.

Switching to 14fps lessens the corporeality of images you can capture at a time. For all types of Raw photography y'all get about 21 shots earlier it slows down, and just 32 JPGs. The results at 11fps are, predictably, somewhere in-betwixt. Await about 22 Raw+JPG shots and 67 JPGs before the camera slows down, with similar times to articulate the buffer for Raw photography and about 3.iii seconds required to write all JPGs to the card.

Shooting fast is important, just information technology doesn't hateful anything if your images are out of focus. The 10-H1 does well on our standard AF-C test, in which the camera photographs a target that moves toward and away from the lens. Continuous focus is slower, just quite accurate, with the vast bulk of shots crisply in focus. Expect 9.3fps with the electronic shutter, 7.7fps without the Booster, and 9.7fps with the grip in Heave mode.

The autofocus organisation is similar to the first-class one from the X-T2, but tweaks take improved its performance. I of those is the ability to focus with lenses with a dim f/11 maximum aperture—the X-T2 was rated for f/eight. While you won't find whatsoever on the market place that close down to f/11 on their own, adding a teleconverter cuts the effective f-stop. The X-H1 works with the 100-400mm ($1,899.00 at Amazon) paired with a 2x teleconverter, the equivalent of a 1200mm f/11 full-frame lens when zoomed all the way in. I used the combination quite a chip in the field and was happy with the focus results. Even in flare-up mode the X-H1 finer caused focus and tracked moving subjects. I'd love to see Fujifilm release something like a 400mm f/4 to better pair with a teleconverter in the future, but for right at present, photographers who utilize farthermost telephoto angles in their work will appreciate what the system has to offering.

Image Quality

The image sensor is a 24.3MP 10-Trans CMOS III design in the same APS-C size that Fujifilm uses for the X mirrorless system. It's the same sensor we've seen in recent Fujifilm cameras, including the Ten-T2 and X-Pro2, but the X-H1 adds in-body stabilization. Fujifilm rates its effectiveness to up to five.5 stops, depending on which lens yous pair it with.

I tested the stabilization arrangement with the XF 50mm F2, a moderate telephoto lens without its ain stabilization system. When sitting I got consistently sharp results at 1/15-second, just a ii-finish advantage. At ane/eight-second, which requires three stops of compensation, about one-half my test shots were well-baked and one-half were slightly blurred. At one/iv-second things were consistently blurry. Results with the XF 23mm F2 were similar—crisp images at 1/fifteen-second, with blur creeping in at 1/eight-2nd.

Lenses with built-in stabilization utilize both their ain systems and the sensor to steady shots. The XF 80mm Macro also adhered to the 1/xv-second rule, although one of my five exam images at ane/four-2d was tack sharp. A longer lens, the XF 100-400mm ready to the 200mm position, started showing mistiness a bit before, at 1/xxx-second.

Then have the v.v-finish rating with a grain of table salt. The stabilization is effective, just not to the level that Fujifilm claims based on our tests. I did observe information technology to be much more than effective for video. Handheld footage with the XF 23mm showed no sign of jitter. And, while I wasn't expecting to become annihilation useable from information technology, handheld footage with the 100-400mm at 400mm with a 2x teleconverter fastened really netted some decent results, as you lot can see in one clip from our test footage below. (I recommend using that combination with a tripod for any sort of serious work, all the same.)

As for image quality, I tested the standard JPG output using Imatest. Information technology shows that the X-H1 keeps dissonance under one.five percent through ISO 6400. We've seen cameras that put up amend numbers than that, but they typically utilise agressive noise reduction to get there. Fujifilm takes a lighter arroyo. You can shoot through ISO 1600 without any visible loss of prototype quality. But you're able to push the photographic camera to ISO 12800 and see but a slight blurring of detail. There's a lilliputian more blur at ISO 25600, merely epitome JPG quality is still strong. Information technology's not until yous get to the top ISO 51200 setting that details are washed away.

Shooting in Raw nets crisper, but grainier, results at high ISOs. Details are strong, without overwhelming noise, through ISO 12800. You can yet see fine lines at ISO 25600, merely grain gives photos a noticeably rough texture. At ISO 51200 there's no blurring to speak of, but there is a heavy, rough grain, which does wipe abroad fine details. As we've seen with other Fujifilm cameras that utilise this paradigm sensor, this is amid the best yous can currently make it the APS-C format.

Video

Fujifilm's cameras have not been a peak pick for video production in the past. A lack of in-trunk stabilization and a stills-first mental attitude, coupled with slow adoption of 4K, accept pushed videographers to mirrorless models from Olympus, Panasonic, and Sony. The visitor hopes to change that with the X-H1. Not only is it the first trunk we've seen from Fuji with in-torso stabilization, the company is too announcing two cinema zoom lenses, the MKX 18-55mm T2.ix and 50-135mm T2.ix, both with geared focus, zoom, and aperture rings, suppressed focus breathing, and support for Hollywood-level accessories, including matte boxes.

The camera itself can shoot at 4K quality, in both DCI and UHD formats. Information technology supports 23.98 and 24fps at DCI (4,096 by 2,160) and your choice of 23.98, 24, 25, and 29.97fps when working in UHD (3,840 by 2,160). You tin also shoot at 1080p or 720p at all of those frame rates, plus 50 and 59.94fps. There'due south besides in-camera slow-motility at 1080p 120fps.

Video recording is limited to 15 minutes per clip, but adding the Booster Grip extends the clip length to 30 minutes. The grip too has a 3.5mm headphone jack, which is missing from the torso and a must-have for monitoring audio on set or in the field.

There are a number of color profiles available—Fuji calls some of them Movie Simulation modes, and so you tin tape footage with the same Classic Chrome, Acros, Provia, or Velvia looks you can apply for JPG images. The X-H1 has a new motion picture manner, Eterna, that mimics the look of cinema moving-picture show. You too shoot with a flat profile, F-log, which lowers contrast to deliver 12 stops of dynamic range, giving yous freedom to form footage to your liking.

I stuck to Eterna when recording video with the X-H1—properly grading log footage is outside my comfort zone, and Eterna is what Fujifilm is pushing for movie house projects where out-of-the-box color is desired. To my eye, the footage looks great, with crisp detail and pleasant colors. The 200Mbps bit rate certainly comes into play hither, fifty-fifty if it results in huge file sizes.

I was also happy to run into how well the autofocus performs when recording video. Even with an extreme lens like the 100-400mm, the 10-H1 is able to track subjects as they motion toward or away from the frame, with only occasional hunting for focus. The first prune in our reel was shot handheld with that combination, coupled with a teleconverter, at an absurd 1,200mm-equivalent bending of view, and while at that place's judder when panning to follow a subject, the handheld footage is actually quite smooth when you consider the lens.

You'll also run into the occasional shake in tripod-mounted shots. But that'due south because the camera and tripod were themselves on an unstable platform, floating boardwalks along a wetland nature trail, and for our daytime beach scenes wind was strong plenty to jostle my tripod. Audio is recorded in the field, with the Ten-H1's internal microphone, and you tin can certainly hear the wind blow in those shots.

At that place are other examples of handheld footage in our test reel. The snow scene and the dripping icicle were both shot sans tripod with the XF 80mm Macro ($i,199.00 at Amazon) . And you can see some can see some examples of skew, acquired past the rolling shutter effect, in scenes of trucks passing past on the highway. Information technology's not extreme, but it'due south noticeable. Overall, the X-H1 is the best video camera that Fujifilm has made to date, but if you are all nearly video, a more specialized mirrorless camera like the Panasonic GH5S or Sony a7S 2 is likely a better fit.

Equally for video controls, in that location are a couple of means to become. In lodge to shoot video you demand to change the Drive dial to the video setting—a deviation from the Record button you get with about cameras, but typical ergonomics for Fuji. Out of the box, the Ten-H1 volition use the aforementioned settings you lot use for stills when switching to video. That's not ideal, as you typically want a different shutter speed for recording video than yous practice for capturing still images.

You tin can switch to an on-screen control mode, Movie Silent Control. Information technology'due south accessible past diving into the photographic camera menu. One time you turn it on, it sticks—yous need to get back into the bill of fare to plow it off. The interface supports touch input, so you tin can make adjustments to the aperture, shutter speed, ISO, and other settings without clicking dials or adding unwanted sound to your footage. But navigating via touch is a chip clumsy. Yous're better off using the rear focus joystick to scroll through the menu and modify settings. You just take to remember to employ the left and right directional presses to navigate in and out of settings when adjusting several parameters. If you hit OK instead, which is the natural instinct when making a menu selection, the overlay bill of fare disappears and you'll demand to tap the screen to bring the overlay menu back up.

The best part virtually using Silent Command is that its settings are separated from still photography. I can exit my shutter dial set at 1/1,000-2d for imaging and have a gear up 1/48-second shutter speed for 24fps video capture. If you opt not to use it, yous'll accept to call back to change shutter speed manually equally you move between still image and video capture. And you won't have easy admission to the shutter speeds used for cinema production.

Conclusions

The Fujifilm X-H1 delivers the same grade-leading image quality as the Ten-T2, only betters its focus system, offering stronger peformance in dim light and when shooting video. You also get Fujifilm'due south excellent Film Simulation modes for shooting in JPG, and Raw support for photographers who prefer to procedure their ain photos. And while we didn't find the in-body stabilization to be as effective for stills equally Fujifilm promises, shooting crisp handheld images at 1/15-2d with longer lenses is zero to sneeze at, and the organisation is very effective for video utilise. It adds versatility to some excellent Fujinon lenses that omit in-lens stabilization, similar the company's XF 16-55mm F2.8 pro standard zoom (which was not available for me to use at the fourth dimension of this review), and betters what in-lens stabilization can deliver on its own for lenses that include the feature.

The deeper handgrip is welcome, especially when using larger lenses like the XF 100-400mm and 80mm Macro, merely the camera nevertheless balances well with smaller, lighter lenses. Photographers who love the Fujifilm way of doing things will be happy about the ISO and shutter speed dials, just may miss the EV punch. Every bit much as I like a meridian data display, I'd prefer to lose it in favor of quicker EV adjustment.

The 10-H1 faces some strong competition as you near the $ii,000 price point. Micro Four Thirds cameras from Olympus and Panasonic, the East-M1 Mark II and G9 specifically, have smaller sensors only as well shoot quite fast and offering strong autofocus and 4K video. Sony has its a6500, which is a fleck too pocket-size for my gustation, but is also quite capable. All of these competitors include in-body stabilization.

And on the SLR front at that place's the Nikon D500, which lacks IBIS, and isn't nearly as capable when it comes to video (it shoots in 4K, but doesn't autofocus well when recording moving images), a typical business organisation with SLRs. Canon has its 7D Marking Two, which focuses and tracks subjects well, but is getting older every mean solar day—it seems due for an update.

But the elephant in the room isn't another APS-C or Micro Iv Thirds model. It'due south the Sony a7 III, which sports a total-frame sensor, a focus system that covers most of the image frame with stage detection, and is capable of shooting at 10fps without the need for an add-on grip. It's also a 24MP camera, and while nosotros haven't performed lab tests on it yet, we wait it to do ameliorate at high ISOs thanks to its lower pixel density and BSI sensor blueprint. And, like the X-H1, it records video at 4K quality and includes in-body stabilization. If your needs aren't specifically geared toward APS-C photography it'south a compelling alternative. The downside is that its lenses are a bit larger and tend to cost more than those for the X system. On the other mitt, portrait photographers will appreciate the shallower depth of field that you can get with a total-frame sensor. An 85mm f/ane.four volition still blur out a background more than than the closest equivalent lens for the Fuji system, the 56mm f/1.2.

Simply there are certainly reasons to stick with APS-C, with smaller, more affordable lenses and the greater constructive telephoto attain offered past the sensor format chief among them. And, in the smaller-than-full-frame sensor format, the X-H1 is the all-time all-effectually camera I've seen. It may not be the best at tracking subjects—that goes to the Nikon D500—but it's still very capable. It may not have the same video chops as the Panasonic GH5 and GH5S, simply it betters them in autofocus and delivers strong 4K footage in its own right. It may not be equally small and low-cal as the Sony a6500, but its trunk design lends itself ameliorate to utilise with the larger lenses. The X-H1 does everything these competing cameras practise all-time with almost every bit much apprehending, delivering a lot of versatility for your dollar.

It'south not the perfect torso for everyone—I especially miss the EV dial—merely while it has some shortcomings here and there, its versatility more than makes up for them. The X-H1 is a hard sell for photographers who already own an Ten-T2—unless in-body stabilization is an absolute must-have. Simply if yous're mulling an upgrade from a more entry-level model, or are withal using the 16MP X-T1, it'southward the obvious choice, and our Editors' Choice amid premium, ingather-sensor mirrorless cameras.

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Source: https://sea.pcmag.com/cameras/19608/fujifilm-x-h1-review

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