Introduction
Fuji’s X-M1 is the third model in the company’s X range of interchangeable lens cameras, and it is the smallest and lightest compact system camera the manufacturer has produced to date. In fact, it’s a little smaller than the Fuji X20, which is a compact camera with a 2/3-inch sensor. The Fuji X-M1, however, has the same APS-C format sensor as the Fuji X-Pro1 and Fuji X-E1.
Consequently, the Fuji X-M1 has an X-trans CMOS sensor with 16.3 million effective pixels and Fuji’s unique colour filter array that minimises moiré patterning and avoids the need for an optical low-pass filter – thus capturing more detail.
As with the X-Pro1 and X-E1, Fuji claims that the new camera is capable of matching a full-frame DSLR for image quality.
In a bid to save on cost and size, the Fujifilm X-M1 doesn’t have a viewfinder built in, but it has a high resolution LCD screen mounted on a tilting bracket for easier viewing when shooting at high or low angles.
The new camera is the entry-level model for Fuji’s X-series of interchangeable lens cameras, or compact system cameras, and it sits below the Fuji X-E1 and the flagship Fuji X-Pro1, priced at £679 / $799.95 with a kit lens.
Features
Fuji has coupled the X-M1’s sensor with its EXR Processor II (the Fuji X-Pro1 and Fuji X-E1 use the EXR Pro Processor) and this enables a start-up time of 0.5 seconds, shutter lag of 0.05 seconds and a maximum continuous burst speed of 5.6fps (frames per second) for a maximum of 30 images.
This processor also enables you to set sensitivity in the native range ISO 200-6400, with expansion options of ISO 100, ISO 12,800 and ISO 25,600 giving plenty of scope for shooting in low light as well as normal lighting conditions.
In a first for Fuji’s X-series of compact system cameras, the Fuji X-M1 has a tilting LCD screen, which is designed to provide a clearer view when shooting from high or low angles. This is a high-resolution device with 920,000 dots.
Fuji has also included Wi-Fi technology for the first time in an X-series camera. This enables you to transfer images wirelessly to your smartphone or tablet using the free Fujifilm camera app, and from here images can be shared on social networking sites such as Facebook and Twitter.
Images can also be backed up to your home PC using the free Fujifilm PC autosave software, which enables you to select a folder to save photos to. Once the camera has been linked to your Wi-Fi router, we are told images can be backed up quickly and easily.
Images may be saved to the SD/SDHC/SDXC card as raw or JPEG files, or both simultaneously, and there are five film simulation modes to tailor the look of the JPEG images.
These modes may be used when shooting raw files as well, but the eight advanced filter options can only be used when shooting JPEGs. The film simulation modes include Provia (standard), Velvia (vivid), Astia (muted), Sepia and Black-and-White.
Meanwhile the advanced filters include Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key and Partial Colour. In addition, there is a multiple exposure mode that enables you to superimpose an overlay image of the previous shot.
Being a mirrorless camera, the Fuji X-M1 uses a contrast detection autofocusing system. As with the Fuji X-Pro1 and Fuji X-E1 the Fuji X-M1 has 49 individually selectable AF points. There’s also a Multi AF option in which the camera selects the appropriate focus point, Tracking AF, Continuous AF and manual focus mode.
No camera would be complete today without the ability to record Full HD video, and the Fuji X-M1 can record 1920 x 1080 video at 30fps. For extra creativity, the film simulation modes are available for use when shooting video as well as stills.
Finally, in addition to a hotshoe for mounting a flashgun, there’s also a small pop-up flash (Guide Number 7 at ISO 200), which is useful for providing extra illumination or fill-in light.
Build and handling
Although it looks and feels very much a part of Fuji’s X-series of high-quality cameras, the Fuji X-M1 is noticeably smaller than both the Fuji X-Pro1 and Fuji X-E1. Nevertheless, it still feels very comfortable in the hand, with a shallow but effective grip on the front providing purchase.
There’s also enough room for your thumb on the back of the camera, and our first impressions indicate that the controls are nicely spaced and sized.
The Fuji X-M1’s control arrangement is a little different from the Fuji X-Pro1’s and Fuji X-E1’s. There is no shutter speed dial, for example, but there is an exposure mode dial that gives access to the enthusiast-centric options of program, shutter priority, aperture priority and manual, as well as automatic and scene modes for less experienced photographers. This dial also offers the option to use the advanced filters we mentioned earlier.
A second large dial on the top of the Fuji X-M1 can be used to adjust exposure compensation when shooting in semi-automatic and automatic exposure modes, but in manual mode it’s used to set shutter speed, with the small dial above the thumb rest on the back of the camera being used to set aperture.
There are no controls on the left-hand side of the LCD screen, Fuji has put them all on the right-hand side to make the camera easy to use one-handed. The buttons and dials have a high-quality feel and they were responsive on the pre-production sample that we handled.
The Q button, which gives access the quick menu, sits in the bottom right-hand corner on the back of the camera. On the Fuji X-Pro1 and Fuji X-E1 this control is in the ridge near the thumb rest, and we found it prone to being accidentally pressed. But this shouldn’t be an issue with the new camera.
Fuji’s quick menu is one of the best around, and because there’s no need to select the various options before they can be adjusted, you just navigate to the one you want and then make the adjustment. It would be nice if it were possible to customise the 16 options that are on offer to your own preferences, though.
Naturally we will need to test the Fuji X-M1 in a wide range of conditions when we get a full production sample in, but our first impressions of its 3-inch 920,000-dot LCD screen are very good. It provides a good, clear view with plenty of detail and doesn’t seem to suffer excessively from reflections or ghosting. This is especially important in the Fuji X-M1 because it doesn’t have a viewfinder for composing images.
The tilting bracket that holds the LCD screen seems sturdy and well made. It’s a welcome addition to any camera without a viewfinder and is helpful when composing landscape-format images above and below eye-level. However, because it’s not a fully articulating joint it doesn’t provide any assistance with portrait-orientation shots.
It’s also a little disappointing that the screen isn’t touch-sensitive, but of course this would have cost implications, and Fuji has designed the Fuji X-M1 to be more affordable than its other interchangeable lens cameras.
Fuji has introduced two new lenses with the Fuji X-M1. The first of these is the XC 16-50mm F/3.5-5.6 OIS, which will be sold with the camera as a kit. This is a compact zoom lens that produces an effective focal length equivalent to 24-76mm on a full-frame camera.
This XC lens is the first of a new breed of more compact and more affordable lenses. However, according to Fuji UK it’s a better quality optic than your average kit lens, and we look forward to testing this claim.
The second lens is the XF 27mm f/2.8 compact prime lens, a pancake optic, which equates to 40.5mm lens in 35mm terms.
Unlike Fuji’s earlier XF lenses, neither of these optics has an aperture ring, but the Fuji X-M1 is still compatible with Fuji’s existing lenses that feature an aperture ring. Fuji will also issue a firmware upgrade for its existing cameras to enable them to be used with the two new lenses.
While the presence of an aperture ring may be appealing to experienced photographers, it may put off younger or less experienced photographers. The introduction of the two new lenses means that Fuji’s compact system cameras may now have broader appeal.
Performance
Although the Fuji X-M1 that we used to shoot with was close to being a final production model, we weren’t able to examine any of the images that we took with it on a computer (or publish them), so we can only speculate about the quality of the results that it produces. However, we have since tested a final production camera in our labs, so check out the resolution and sensitivity results on the following pages.
Because it has the same sensor as the Fuji X-Pro1 and Fuji X-E1, albeit with a different processing engine, we can be reasonably confident that it is capable of capturing plenty of detail. Both of these cameras impressed us, and they give full-frame cameras a run for their money.
We also really like the filmic quality of the images from the Fuji X-Pro1 and Fuji X-E1, and we hope that the Fuji X-M1 will be able to match it, with pleasant fall-off in focus (this is a feature of the lens as well as the sensor and processor combination) and good natural colours.
With the Fuji X-Pro1 we found that the standard film simulation mode, Provia, is a good option for many situations, while Velvia is good for boosting colours, although it can make grass look unnaturally vibrant. Meanwhile the images captured using the Fuji X-Pro1’s Monochrome option benefit from a slight contrast boost – although many photographers will only use the JPEG as a guide and shoot raw files simultaneously for conversion.
In the past, Fuji’s white balance and metering systems have proved themselves capable, delivering well-exposed images without a colour cast in a range of conditions. The Fuji X-Pro1’s automatic white balance system struggled a little in warm light, however, and this is something we will look at carefully when we get a full production sample of the Fuji X-M1 in for testing.
We were only able to use the pre-production sample Fuji X-M1 in the confines of an office with relatively low, flat light, which doesn’t do the contrast detection autofocus system any favours. Nevertheless the camera managed to focus the lens on every subject we pointed at and with reasonable, although not super-quick, speed.
Fuji has received some criticism for the speed of the AF systems in its cameras, with firmware updates being issued to improve their performance significantly, so naturally this is something that we will investigate further when we get a full production sample in for testing.
Initial verdict
We’ve been very impressed by Fuji’s X-Pro1 and X-E1, which have superb build quality and produce excellent images. However, their price puts them beyond the reach of many photographers. The new Fuji X-M1 appears to make compromises in all the right areas to reduce cost, but promises to deliver similar, if not the same, high quality results.
Its build quality is still high, but it’s a considerably smaller and more portable camera. It also has a mode dial instead of traditional controls, which may be more attractive to relative newcomers to photography as well as those looking for an alternative to a DSLR. However, those who want to use the camera with a lens with an aperture ring can do so.
We’re pretty excited about the Fuji X-M1 and we’re looking forward to putting it through its paces in a full review in the near future.
Image quality and resolution
As part of our image quality testing for the Fuji X-M1, we’ve shot our resolution chart.
If you view our crops of the resolution chart’s central section at 100% (or Actual Pixels) you will see that, for example, at ISO 100 the Fuji X-M1 is capable of resolving up to around 26 (line widths per picture height x100) in its highest quality JPEG files.
For a full explanation of what our resolution charts mean, and how to read them, check out our full explanation of our camera testing resolution charts.
Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:
JPEG
Full ISO 100 image, see the cropped (100%) versions below.
ISO 100, score: 26 (Click here to see the full resolution image)
ISO 200, score: 24 (Click here to see the full resolution image)
ISO 400, score: 24 (Click here to see the full resolution image)
ISO 800, score: 24 (Click here to see the full resolution image)
ISO 1600, score: 24 (Click here to see the full resolution image)
ISO 3200, score: 24 (Click here to see the full resolution image)
ISO 6400, score: 24 (Click here to see the full resolution image)
ISO 12800, score: 24 (Click here to see the full resolution image)
ISO 25600, score: 22 (Click here to see the full resolution image)
Raw
ISO 200, score: 26 (Click here to see the full resolution image)
ISO 400, score: 24 (Click here to see the full resolution image)
ISO 800, score: 24 (Click here to see the full resolution image)
ISO 1600, score: 24 (Click here to see the full resolution image)
ISO 3200, score: 24 (Click here to see the full resolution image)
ISO 6400, score: 24 (Click here to see the full resolution image)
Noise and dynamic range
We shoot a specially designed chart in carefully controlled conditions and the resulting images are analysed using DXO Analyzer software to generate the data to produce the graphs below.
A high signal to noise ratio (SNR) indicates a cleaner and better quality image.
For more more details on how to interpret our test data, check out our full explanation of our noise and dynamic range tests.
Here we compare the Fuji X-M1 with the Sony NEX-3N, Fuji X-E1, Olympus E-PM2 and Panasonic GF6. The Fuji X-M1 has the greatest sensitivity range of all the cameras here.
JPEG signal to noise ratio
As we can see from this graph, JPEGs from the Fuji X-M1 contain greater signal to noise ratios than JPEGs from the Olympus E-PM2 at every sensitivity setting, though they have weaker ratios than those from the Fuji X-E1 at every sensitivity. The Fuji X-M1’s JPEG images have greater signal to noise ratios than those from the Panasonic GF6 at every setting except ISO 200 and 400, and are stronger than the Sony NEX-3N‘s at ISO 3200 and 6400, score similar results at ISO 800 and 1600 and are weaker at ISO 200, 400 and 12800.
Raw signal to noise ratio
The Fuji X-M1’s TIFF images (after conversion from raw) are comparatively weaker than its JPEGs in terms of signal to noise ratios, producing weaker ratios than TIFFs from the Sony NEX-3N, Olympus E-PM2 and Fuji X-E1 at every sensitivity setting. However, the X-M1’s TIFFs do contain greater signal to noise ratios than those from the Panasonic GF6 throughout the sensitivity range.
Raw dynamic range
This chart indicates that TIFF images (after conversion from raw) from the Fuji X-M1 contain greater dynamic range than those from the Panasonic GF6 at every sensitivity setting, and greater range than TIFFs from the Sony NEX-3N at every sensitivity except ISO 3200 and 6400. But the Fuji X-M1’s TIFFs show weaker dynamic range than the Olympus E-PM2‘s TIFFs at every sensitivity setting. The Fuji X-M1’s TIFFs have a weaker range than the Fuji X-E1‘s at ISO 400, 800 and 6400, similar range at ISO 200 and 1600, and slightly stronger range at ISO 3200.
Sample images
Click here to see the full resolution image
The new 16-50mm kit lens is a flexible option for your first lens, and offers an equivalent of 24-76mm in 35mm terms. Fuji claims that this lens is a better performer than standard kit lenses, and we’ve certainly found it very capable during our test.
Click here to see the full resolution image
Even when shooting at high sensitivities (this image is ISO 1600), the Fuji X-M1 is capable of resolving a large amount of detail. Examining this image at 100% does reveal some image smoothing in the fine knits, but considering it was shot at ISO 1600, the sensor has coped well.
Click here to see the full resolution image
General purpose metering does a good job of helping to produce balanced exposures even when the contrast in a scene is a high. To get even better results, switch to spot metering.
Click here to see the full resolution image
There’s plenty of detail in this shot, while image stabilisation has done a good job of keeping the image blur-free, despite it being a hand-held shot.
Click here to see the full resolution image
The number of lenses available for the Fuji X system is fairly limited, though it is growing. This image was shot with the 60mm f/2.8 optic.
Click here to see the full resolution image
When shooting under artificial lighting, the Fuji X-M1 has a tendency to err towards warmer tones, so it might be preferable to switch to a more specific white balance setting if the camera is struggling.
Click here to see the full resolution image
The new 27mm f/2.8 pancake lens is a good carry around option, because it gives an equivalent focal length of around 41mm. With its capability to shoot as wide as f/2.8, it’s also useful when light levels drop.
Click here to see the full resolution image
Colours straight from the Fuji X-M1 are bright and punchy without being overly saturated. To increase the vibrancy, you can choose to shoot in the classic Velvia simulation mode.
Click here to see the full resolution image
The 60mm f/2.8 lens makes an ideal lens for shooting portraits, because it helps to capture the maximum amount of detail and is roughly equivalent to 90mm.
Click here to see the full resolution image
You can also choose to shoot in black and white by using film simulation modes. These enable you to shoot in raw format, so if you change your mind about the simulation down the line, you can work with a ‘clean’ version.
Digital filters
A number of digital filters are available on the Fuji X-M1, which can be accessed via the Advanced section of the mode dial. Images shot with these filters can only be shot in JPEG format.
Click here to see the full resolution image
Click here to see the full resolution image
Click here to see the full resolution image
Click here to see the full resolution image
Click here to see the full resolution image
Click here to see the full resolution image
Click here to see the full resolution image
Sensitivity and noise images
JPEG
Full ISO 100 image, see the cropped (100%) versions below.
ISO 100 (Click here to see the full resolution image)
ISO 200 (Click here to see the full resolution image)
ISO 400 (Click here to see the full resolution image)
ISO 800 (Click here to see the full resolution image)
ISO 1600 (Click here to see the full resolution image)
ISO 3200 (Click here to see the full resolution image)
ISO 6400 (Click here to see the full resolution image)
ISO 12800 (Click here to see the full resolution image)
ISO 25600 (Click here to see the full resolution image)
Raw
ISO 200 (Click here to see the full resolution image)
ISO 400 (Click here to see the full resolution image)
ISO 800 (Click here to see the full resolution image)
ISO 1600 (Click here to see the full resolution image)
ISO 3200 (Click here to see the full resolution image)
ISO 6400 (Click here to see the full resolution image)
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