Introduction

The Fuji X-A1 is the fourth model in the company’s X-series of compact system cameras, but it is identical to the Fuji X-M1 in all but one vital way – the sensor. Whereas the Fuji X-M1 has the same APS-C format X-Trans CMOS sensor as the Fuji X-Pro 1 and Fuji X-E1, the X-A1 has an APS-C format CMOS sensor with a Bayer pattern primary colour filter.

While the X-Trans sensor’s random colour filter arrangements means it doesn’t require an optical low pass filter, the more standard Bayer pattern filter over X-A1’s sensor does. This is likely to mean that the 16.3 million pixel sensor of the X-A1 isn’t able to resolve quite as much sharp detail as the 16.3 million pixel sensor in Fuji’s other cameras. However, we’ve been happy with Bayer patterns in digital cameras for years, so it may not be a major issue.

The change to a more common sensor design enables Fuji to offer X-A1 at a more affordable price than the X-M1; with the X-A1 retailing for around US$599/£499 with the 16-50mm f/3.5-5.6 kit lens and the X-M1 retailing for around US$799/£679 with the same optic.

Features

Fuji has coupled the X-A1’s sensor with its EXR Processor II, the same processing engine as in the X-M1, and this enables the X-A1 to shoot up at up to 5.6fps (frames per second) for up to 30 JPEG or 10 raw (or raw & JPEG) files. It also allows sensitivity to be set in a native range of ISO 200-6400, but there are expansion settings of ISO 100, 12800 and 25600 available when shooting JPEGs.

As we would expect with a camera in Fuji’s X-series, images may be saved to the SD/SDHC/SDXC card as raw or JPEG files, or both simultaneously. There are also five Film Simulation modes – Provia (standard), Velvia (vivid), Astia (muted), Sepia and Black-and-White – with which to tailor the look of the JPEG images.

While these modes may be used when shooting raw files simultaneously, the Advanced Filter options (Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key and Partial Colour) are JPEG-only. This is a shame, as it means you can’t retain a ‘clean’ raw image for post-capture processing alongside the JPEG with the filter applied.

Fuji provides an unusual array of bracketing options including Auto Exposure (±1/3EV/±2/3EV/±1EV), Film Simulation mode (three user-selectable options), Dynamic Range (100%, 200% and 400%) and Sensitivity (±1/3EV/±2/3EV/±1EV), so there are plenty of options for the indecisive as well as in tricky lighting conditions.

In common with the majority of recently announced cameras, the X-A1 has Wi-Fi connectivity built-in. This enables images to be transferred wirelessly to a smartphone or tablet via Fujifilm’s free app, and from there they can be shared on Facebook and Twitter etc. The camera can also use Geotagging data from a smartphone to tag an image.

Fuji also provides its free PC AutoSave software ( for Windows and Mac) for transferring images wirelessly to a computer. Once the camera has been paired with your Wi-Fi router it’s just a question of selecting the folder to which the images will be saved. From then on, images should be saved automatically once a wireless connection is established.

Like the X-M1, the X-A1 doesn’t have a viewfinder built-in, but there is a three-inch 920,000-LCD screen mounted on a tilting bracket which offers a view of around 100% of the frame. This is only the second time that Fuji has used a tilting screen, with the first being on the X-M1.

As usual with a compact system camera, the Fuji X-A1 uses a contrast detection autofocus (AF) system. This has 49 points which may be selected individually by the photographer, or the choice can be left to the camera in Multi AF mode. These options are backed-up by Tracking AF and Continuous AF modes for use with moving subjects and manual focus mode for when the need arises.

Although the X-A1 has a small pop-up flash unit built-in (Guide Number 7 at ISO 100), there’s a hotshoe for mounting an external flashgun for those times when more powerful illumination is required.

Build and handling

Aside from its name badge and the fact that it’s available in black, red or blue, the Fuji X-A1 looks exactly like the Fuji X-M1.

These two cameras are considerably smaller than the Fuji X-Pro 1 and Fuji X-E1, but they have the same high quality feel.

A small thumb-rest on the back of the camera and the shallow grip on the front ensure that the X-A1 feels comfortable and relatively secure in your hand, although a little rubber on the thumb-rest wouldn’t go amiss.

Unlike the X-Pro1 and X-E1, but like the X-M1, the X-A1 has a dial on the top-plate that is used to select the exposure mode. This provides the usual options of program, shutter priority, aperture priority and manual, along with a fully automatic option and a selection of scene modes. The Advanced Filter modes are also accessed via this dial.

In manual mode a second dial on the top-plate, within easy reach of the right thumb, is used for adjusting shutter speed, while a small dial just above the thumb-rest is used to set aperture. In aperture or shutter priority mode the larger top-plate dial is used to set exposure compensation.

As on the X-M1, there are no controls to the left of X-A1’s LCD screen to make the camera easier to use one-handed. In addition to the two dials previously mentioned, the power-switch and the shutter release, there’s a Function (Fn) button on then top-plate that can be used to access one of 15 features. We found it useful for accessing the sensitivity settings quickly, as this is something that needs to be changed quite frequently.

In the bottom right corner of the back of the camera is the Q button which gives access to the Quick menu. This shows up to 16 features which may be adjusted by navigating to any of them before using the small dial above the thumb-rest. It’s a very quick and easy system to use.

We found the controls to be generally well positioned, but the video button just beneath the thumb-rest was pressed accidentally on a couple of occasions during this test and we shot a couple of seconds of unwanted movie footage.

We also found that the exposure dial on the top-plate was prone to being knocked out of position, and in aperture or shutter priority mode this adjusts the exposure compensation. As there are no markings on the dial it’s important to check the on-screen exposure display before taking the shot. However, if you prefer to shoot without the on-screen information display it will go unnoticed.

When shooting indoors or in low-light the three-inch 920,000-dot LCD screen provides a nice clear view with plenty of detail. Although it’s not excessively troubled by reflections in bright conditions, as with most cameras they are still an issue in some situations. It’s not a major problem, but some users may prefer to opt for X-E1 or X-Pro1 to have the benefit of a viewfinder.

While the tilting bracket for the LCD screen is a bonus when shooting landscape format images from low-level, or above head-height, it’s no help when shooting portrait format images.

Several manufacturers are supplementing button and dial controls with a touchscreen these days, but Fuji has yet to do this with its X series. This is a shame, as a touchscreen makes it quicker to change some settings, and is especially useful for setting the AF point.

Performance

Although it uses a more standard Bayer pattern sensor, instead of Fuji’s unique X-Trans device, the X-A1 still produces very nice images. As we’d expect, however, it can’t resolve quite as much detail as the X-M1 in our laboratory conditions. In the real world, though, the level of detail looks to be the same.

Comparing images at 100% reveals a clear benefit to shooting raw files rather than (or as well as) JPEG images. Even at low sensitivity settings the raw files have noticeably more detail and ‘bite’ at 100% than simultaneously captured JPEGs. They also look considerably more natural, as the strong edges in JPEGs look slightly bolder while the finer detail in-between looks softer.

Although JPEGs become increasingly soft as sensitivity rises, it is within acceptable boundaries. The results at ISO 6400 are impressive, with a fine stippled texture of luminance noise being visible at 100% on-screen, but there’s no sign of coloured speckling. Generally speaking, they would make good A3 prints.

Interestingly, some may feel that the X-A1 produces nicer images than the X-M1 as there’s slightly less luminance noise visible and in some cases the contrast is a little higher.

In most situations the X-A1’s 256-zone metering system does a good job in its general-purpose Multi setting, but like many systems it struggles a little under bright overcast skies when it has a slight tendency to underexpose the foreground. This is easily addressed by using the exposure compensation facility.

It’s also worth bearing in mind that the screen only simulates the image exposure once the shutter release has been half-pressed.

On the whole the Standard Film Simulation mode, which is equivalent to Fuji’s Provia film emulsion, provides good colours in most situations, although lush grass can look a little too vivid. If you want something with a bit more zing, there’s Velvia mode which boosts saturation and contrast.

As with most monochrome modes the X-A1’s B&W Film Simulation mode can produce rather flat images, but these can be improved by pushing the Highlight and Shadow Tone controls to their maximum (+2 Hard) settings to increase contrast. However, it’s possible to use this mode while shooting raw and JPEG files simultaneously, so you can have a black and white JPEG file as a guide while shooting and a raw file with the full colour information for converting at a later date.

We like some of the results that are possible when using the Advanced Filters, but were disappointed that there’s no high contrast black and white option and that the filters can’t be used when shooting raw and JPEG files.

We have no major complaints about the performance of the X-A1’s automatic white balance system, as it produces natural looking images on a wide range of situations. However, when shooting indoors we found the best results were produced by creating a custom white balance setting. This takes just a few seconds and involves shooting a white (or neutral grey) target under the same light as the subject.

It may not be the fastest autofocusing system in the world, but we found that the X-A1 is capable of getting subjects sharp quickly in all but very low light or when the target’s contrast is very low. As rule it works quickly and efficiently without much hunting when the Super EBC XC 16-50mm f/3.5-5.6 OIS kit lens is mounted. It’s probably not the camera of choice for shooting fast moving subjects though.

The start-up time is acceptable with the camera being ready for action in under two seconds.

Image quality and resolution

JPEG

Full ISO 100 image, see the cropped (100%) versions below.

ISO 100, score: 22 (Click here to see the full resolution image)

ISO 200, score: 22 (Click here to see the full resolution image)

ISO 400, score: 22 (Click here to see the full resolution image)

ISO 800, score: 22 (Click here to see the full resolution image)

ISO 1600, score: 22 (Click here to see the full resolution image)

ISO 3200, score: 22 (Click here to see the full resolution image)

ISO 6400, score: 20 (Click here to see the full resolution image)

ISO 12800, score: 20 (Click here to see the full resolution image)

ISO 25600, score: 20 (Click here to see the full resolution image)

Raw

ISO 200, score: 24 (Click here to see the full resolution image)

ISO 400, score: 22 (Click here to see the full resolution image)

ISO 800, score: 22 (Click here to see the full resolution image)

ISO 1600, score: 22 (Click here to see the full resolution image)

ISO 3200, score: 22 (Click here to see the full resolution image)

Noise and dynamic range

JPEG signal to noise ratio

This graph indicates that the Fuji X-A1 produces the cleanest JPEG images with least noise in this collection of cameras. However, the raw (after conversion to TIFF) signal to noise ratio results don’t compete so well with those from the other cameras, suggesting that Fuji does a better job of concealing the noise in its JPEGs. This matches fairly well with our real-world experience, in which the JPEGs look great at normal printing sizes but lack some fine detail when viewed at 100% on screen.

Raw signal to noise ratio (after conversion to TIFF)

JPEG dynamic range

The Fuji X-A1’s JPEGs have a fairly consistent dynamic range of just over 9EV for most of its sensitivity range. While this is not the highest range we have measured, it’s better than the X-M1 and we didn’t find the camera’s dynamic range was unduly restricted when we used it for real-world photography. Generally speaking the X-A1 produces images with a nice level of contrast.

Raw dynamic range (after conversion to TIFF)

While the X-A1’s raw files (after conversion to TIFF) have a higher dynamic range than the JPEGs (as we would expect), they don’t achieve the levels of the files from the Sony NEX-3-N, Fuji X-E1, Olympus E-PM2 and Fuji X-M1.

Sample images

(Click here to see the full resolution image.)

The X-A1 produces nice, natural colours straight from the camera

(Click here to see the full resolution image.)

The tilting screen is useful when you want to shoot landscape format images from a low angle like this, but it doesn’t help much with portrait format shots.

(Click here to see the full resolution image.)

The images below are 100% crops of this shot comparing the level of detail visible in raw and JPEG images taken at ISO 800.

(Click here to see the bigger image.)

JPEG file: there’s slight smoothing between the stronger edges.

(Click here to see the bigger image.)

Raw file: Looks more natural with better detail.

(Click here to see the full resolution image.)

There’s no shortage of detail here.

(Click here to see the full resolution image.)

These hips were moving in the breeze, which gave the AF system a challenge, but it was up to the job.

(Click here to see the full resolution image.)

Dynamic Advanced Filter mode produces some interesting, high contrast and high saturation results.

(Click here to see the full resolution image.)

Images have a pleasant level of contrast so shots look natural yet punchy.

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)

Verdict

At US$599/£499 with the 16-50mm f/3.5-5.6 kit lens the X-A1 represents a significant saving on the X-M1, which retails for around US$799/£679 with the same optic.

With the exception of the sensor design, the X-A1 has exactly the same specification as the X-M1, which means you get quite a bit for your money. The build quality is excellent, start-up and response times are snappy and there’s a high- resolution LCD screen that tilts for easier viewing from above or below when shooting landscape images.

Naturally a drop in price means that there is a compromise, and with the X-A1 it’s made with detail resolution and raw signal to noise ratio. However, this difference is only really visible in lab conditions when looking at a perfectly illuminated black and white target. This difference exists because the X-A1 has a standard Bayer pattern sensor that requires an anti-aliasing (or low-pass) filter rather than a X-Trans CMOS sensor which doesn’t need a filter to avoid moiré patterning.

While the X-M1 can resolve more detail than the X-A1 in laboratory conditions, there’s also slightly less noise visible in images when they are viewed at 100%. In reality these differences are unlikely to be noticeable at normal print sizes.

The X-A1 produces superb images that most photographers will be extremely happy with, especially if they shoot raw files.

We liked

Fuji has translated its rugged retro build to a smaller camera aimed at those on a budget or who don’t want to carry a bulky camera. Thanks to the provision of a Mode dial the controls are also simpler for less experienced photographers, but the enthusiasts’ favourite options of shutter priority, aperture priority and manual are still available quickly.

We disliked

As with the X-M1, the X-A1 has no viewfinder and there’s no optional one available so images can only be composed on the screen, which isn’t entirely without issue in bright ambient light.
We’d also like to see a rubberized pas on the thumb-rest to give it a little more grip.

Final verdict

Most photographers will tell you that image quality is their biggest consideration when selecting a camera, but the build and functionality of the camera are also key factors along with the price. Many manufacturers reduce the functionality and build quality of their more entry-level cameras in order to keep cost down, but Fuji is in the unusual position of being able to achieve the same thing while keeping these two elements the same.

The X-A1 scores well for build and functionality and price, which makes the slight (and some might say theoretical) dip in image quality in comparison with the Fuji X-M1 much more palatable. It also provides a step into Fuji’s X-system, which has a growing collection of lenses (set to reach 11 by the end of the year) and some great step-up cameras if you feel the need.

Fuji is to be congratulated for sticking to its X-series design principles for it’s entry-level model. It would’ve been easy to compromise on build quality, but it hasn’t. It has also managed to keep the same traditional look of its other models such as the Fuji X-E1 and Fuji X-Pro1 while making the X-A1 and (X-M1) more accessible to novice photographers.

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