Introduction and features
Fujifilm’s X-series of compact system cameras are one of the success stories of recent times. Their popularity seems to have taken even their manufacturer by surprise. A combination of retro styling, traditional controls, robust build and high image quality have made models like the Fuji X-T1, X-E2 and X-Pro1 very attractive to enthusiast photographers.
In a bid to cater for less experienced photographers Fuji also offers the X-M1 and the X-A1, which has now been replaced by the X-A2 tested here.
The X-M1 and X-A1 are identical apart from the fact that they use different sensors. The X-M1 has the same APS-C format X-Trans CMOS sensor as the Fuji X-Pro 1 and Fuji X-E1, while the X-A1 and now the X-A2 have a standard APS-C format CMOS sensor. This means that unlike other Fuji X-series cameras, the X-A cameras’ sensor has a Bayer pattern primary colour filter and an anti-aliasing filter. Omitting the anti-aliasing or low-pass filter usually enables more detail to be recorded, but the differences are very minor in real world shooting conditions. The benefit of using a standard CMOS sensor is that the camera can be made cheaper.
Features
Many of the features of the X-A2 are the same as the X-A1’s. For example, Fuji has plumped for the same 16.3Mp APS-C format (23.6mm x 15.6mm) sensor and the EXR Processor II image processing engine. This is is also the same engine as is used in the X-M1. It means that the sensitivity range of the X-A2 is the same as the X-A1, ISO200 to ISO6400 in the standard mode with JPEG-only expansions settings adding ISO 100, 12,800 and 25,600.
The maximum shooting rate is also unchanged at 5.6fps (frames per second) for up to 30 JPEG or 10 raw (or raw & JPEG) files.
Also as before, there’s no viewfinder built-in and images must be composed on the screen on the back of the camera. This is still a 3-inch 921,000-dot device, but the range of its upward tilting movement has been increased to 175 degrees to make it easier to compose selfies. What’s more, when the screen is tilted right up for viewing from in front of the camera, the X-A2 switches to using Face Detection and the new Eye Detection AF mode that is designed to focus on your eyes automatically.
Other new additions to the focusing system include Auto Macro AF and Multi-Target modes, aiming to make it easier for inexperienced photographers to get subjects sharp. The camera automatically switches to Auto Macro AF when close subjects are detected and in Multi-Target mode the camera uses multiple AF points to identify and focus on the subject.
Fuji sells the X-A2 with the new XC16-50mm F3.5-5.6 OIS II kit lens which has a closest focusing distance of 15cm (from the sensor) at its widest point. This means that it can focus on objects that are approximately 7cm from the front element at the shortest focal length.
Classic Chrome and other films
In line with other recent Fuji introductions and firmware upgrades, the X-A2 has the new Classic Chrome Film Simulation mode in addition to the previous collection; Provia (standard), Velvia (vivid), Astia (muted), Sepia and Black-and-White, which tailor the look of the JPEG images. These modes can be used when shooting raw files at the same time as JPEGs, so you can have a ‘clean’ file for post capture processing as well as the JPEG with the effect applied.
There’s also a collection of Advanced Filter modes: Toy Camera, Miniature, Pop Colour, High Key, Low Key, Dynamic Tone, Soft Focus and several Partial Colour options. When these modes are selected the camera only records JPEG files, even if raw file recording has been previously set.
As well as the usual exposure compensation option (up to ±2EV/) it’s also possible to bracket the Film Simulation mode, Dynamic Range mode or sensitivity setting. Raw file recording must be switched off before these options can be selected. Once activated, the camera creates three images (for example one with each of your three favorite Film Simulation modes applied) with a single press of the shutter release.
The X-A2 has Wi-Fi connectivity built-in and it’s compatible with Fuji’s Camera Application app, which enables its images to be browsed on the screen of a smartphone and wirelessly transferred. This app also enables location data gathered by the phone to be saved with images.
It’s not possible to control the camera remotely via the app, but once the supplied PC AutoSave software is installed it’s possible to transfer images wirelessly to a designated computer.
Build and handling
Fuji has a habit of reusing body shells and it appears that the X-A2 has the same body as the X-A1 and X-M1. The increase in the tilting bracket of screen, however, means that the new camera is very slightly thicker. At 300g/10.6 oz (excluding all accessories) the X-A2 is also a tiny bit heavier than the model it replaces, though 20g/0.7 oz is unlikely to make any difference in the hand.
Unlike many entry-level cameras, the X-A2 has a solid-feeling metal body and the clean, understated design of other Fuji X-series cameras. It looks a little less angular than the X-E2 or X-Pro1, but the connection is clear.
The X-A2’s control layout is also almost identical to the X-A1’s, although the shortcut to the Macro focusing control on the left navigation key is no longer required because of the Auto Macro AF system, so this now provides a quick route to the self-timer.
View from the top
On the top of the camera there’s a chunky, metal mode dial with options to select the usual manual, shutter priority, aperture priority and program mode as well as a Custom option that can be set to the photographer’s preferences. There’s also a clutch of automatic modes including a scene recognition (Advanced SR) mode, a route to the Advanced Filters and multiple exposure mode and a few scene-specific modes including Portrait, Landscape, Sport and Night. There’s no lock on the dial, but I found it usually stays in place and isn’t easily knocked out of position as the camera is pulled from a bag.
On the far right of the top-plate there’s a second metal dial and in the default set-up this is used for adjusting exposure compensation in the semi-automatic exposure modes, or scrolling through menu options and images (in review mode). This is a little easier to knock out of position, so it’s a good idea to check that the exposure compensation hasn’t changed between shots.
On the back of the camera, just below the top-plate, is the sub-command dial. This plastic control lacks the quality feel of the two top-plate dials but, helpfully, it can be depressed in review mode to zoom into the AF point to check focus. Pressing it in manual focus mode toggles through the viewing options and brings up the magnified view.
Round the back
I found it a little hard to identify the buttons on the back of the camera with my thumb, but as the X-A2 doesn’t have a viewfinder, there are few occasions when you’re likely to have to find a control by feel alone.
All of the controls are within easy reach with the fingers and/or thumb of the right hand. Pressing the ‘Q’ button activates the Quick Menu which displays up to 16 key features for adjustment. As on other Fuji X-series cameras, this is quick and easy to use as you just navigate to the option you want and then use the command or sub-command dial to scroll through the options. There’s no extraneous pressing ‘OK’, or confirmation of settings required. It would be nice if the options in the Quick menu could customized, though, and touch control would make it easier to select the feature for adjustment.
On the whole, the X-A2’s menu is sensibly arranged, but there’s no customizable screen to get quick access to the features that you use most often.
The 3-inch 921,000-dot screen is capable of showing lots of detail, but its ‘Sunlight Mode’ needs to be activated in bright conditions. While this makes it possible to compose images in very bright conditions, it’s essential to keep an eye on the histogram as images look very bright and it’s tempting to reduce the exposure using the compensation facility.
It’s helpful that the camera automatically switches to Face Detection and Eye Detection AF mode when the screen is flipped up to shoot a selfie, because if these modes are activated in the menu it’s not possible to specify the AF point in Area AF mode and you’re limited to just the central point.
It would be better if the options to select Face Detection and Eye Detection AF mode were located within the Quick menu along with the other focusing options.
Although it’s pretty easy to connect the X-A2 to a smartphone via its Wi-Fi connectivity, I had several failed attempts at connecting it to a computer to transfer images wirelessly via the PC AutoSave software. The camera would connect to the wireless network, but neither the camera nor the computer could find each other. After half a dozen attempts I decided that life is too short and transferred the images the traditional way – by inserting the SD card in the computer’s card slot.
Performance
My heart sank a little when I picked up the new kit lens to mount on the X-A2 because it feels very light and plasticky, quite unlike the majority of Fuji’s other lenses for X-series cameras. However, I’m happy to say that the lens performs better than it feels. In fact it’s capable of delivering sharp and detailed images.
It’s not possible to shoot raw files at ISO 100 with the X-A2, but the JPEGs at this setting look very good and have a decent level of detail. As our resolution charts show, stepping up to ISO 200 brings a slight boost in the level of detail, as well as the ability to record raw files. The raw files have a bit more detail than simultaneously captured JPEGs, but there’s also a slight texture of luminance noise visible at 100%. Chroma noise (colored speckling) makes an appearance in some areas of ISO 400 raw files viewed at 100% when all noise reduction is turned off, but JPEGs captured simultaneously in the default settings look clean.
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Click here for a full size version.
ISO and noise
As usual, the amount of noise visible in raw files increases as sensitivity rises and by ISO 3200 speckling is visible in some areas of raw files when all noise reduction is turned off and files are sized to A4. Meanwhile the JPEGs look clean at A3, but at 100% some areas look rather painterly.
The JPEG version of images captured at ISO 6400 look good at A3, though some areas lack a bit of detail. Careful processing of the raw files enables images with a bit more detail and acceptable noise levels to be produced.
Fuji caps raw file recording at ISO 6400, so ISO 12,800 and 25,600 are JPEG options only. The results at ISO 12,800 are reasonable, but some shadow areas lack a bit of detail. ISO 25,600 images, however, are best kept quite small as loss of detail is apparent when they are sized to around 9×6 inches.
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Dynamic range
Our lab tests indicate that the X-A2’s JPEGs don’t have especially impressive dynamic range, but this is something that we have noticed with other Fuji cameras, and it’s a consequence of the fairly high mid-tone contrast that they have. This contrast makes the JPEGs look bright and sharp, it gives them their distinctive ‘Fuji’ look that many users love. The raw files look quite a bit flatter by comparison and they have much higher dynamic range. This means that they offer good scope for tonal adjustment post capture and greater detail can be drawn out of the shadows and highlights if necessary.
Click here for a full size version.
Click here for a full size version.
Click here for a full size version.
Colors and exposure
On the whole the X-A2’s automatic white balance system does a good job. It generally captures the feel of a scene without a strong color cast. However, a few of my shots taken in a mixture of bright sun and shadow look a bit cooler than I would like.
I like the slightly muted warm tones that Fuji cameras produce when the new ‘Classic Chrome’ Film Simulation mode is selected and it was my favorite choice when shooting with the X-A2. The standard or default option, ‘Provia’, is a good general-purpose setting that delivers pleasant colors with a nice level of saturation. Switching to ‘Velvia’ gives a boost in saturation and contrast.
While the X-A2’s Multi zone metering (Photometry) system is capable of delivering perfect exposures in quite tricky conditions, there were also a few situations in which I had to dial in a little more exposure compensation than I might have expected. It’s worth keeping an eye on the histogram view to make sure that you’re not losing lots of highlight detail or dramatically underexposing – especially if the screen’s ‘Sunlight Mode’ is activated.
Click here for a full size version.
Click here for a full size version.
It’s unlikely that any dedicated sports photographers would be happy with the X-A2’s autofocus system and it’s not great with moving subjects, but it gets most still subjects sharp quickly. It even copes quite well with quite low light levels, only becoming indecisive in very low light.
I found that when the screen is flipped up to shoot selfies the Face Detection AF system usually spots any faces in the scene and the Eye Detection AF latches onto an eye pretty well provided you’re not wearing spectacles. Although it may identify all the faces within a group, however, it sometimes focuses on one towards the back which can mean that those further forward are a little soft. Because depth of field extends further behind the focus point than it does behind, it would make better use of the sharp zone if it focused on a face nearer the front.
Similarly, in Multi-Target mode the camera does a reasonable job of identifying suitable areas for focus, but they are not always all in the same plane and you don’t actually know the point of focus until you review the image.
Lab tests: Resolution
We’ve carried out lab tests on the Fuji X-A2 across its full ISO range for resolution, noise (including signal to noise ratio) and dynamic range. We test the JPEGs shot by the camera, but we also check the performance with raw files. Most enthusiasts and pros prefer to shoot raw, and the results can often be quite different.
We’ve also picked out three of its chief rivals so that you can compare their performance directly.
• Sony A5100: Sony’s entry-level compact system camera has a higher-resolution APS-C sensor than the Fuji X-A2, with 24 megapixels instead of 16.
• Panasonic GM1: The GM1 is tiny for a compact system camera, though the Four Thirds sensor is a little smaller than the APS-C sensor in the X-A2.
• Nikon D3300: The Nikon is a D-SLR rather than a compact system and has a larger body, but it’s aimed at the same users and price bracket as the X-A2.
Resolution test chart
We test camera resolution using an industry-standard ISO test chart that allows precise visual comparisons. For a full explanation of what our resolution charts mean, and how to read them, check out our camera resolution test process.
Examining images of the chart taken at each sensitivity setting reveals the following resolution scores in line widths per picture height x100:
JPEG Analysis: While the 16Mp X-A2 can’t compete with the 24Mp Sony A5100 and Nikon D3300, it captures a good level of detail and the mid tone contrast of its JPEGs give a good impression of detail.
Raw analysis: The results are closer with raw files. The D3300 is still a clear step above the rest, but the the X-A2 holds its own pretty well with the Sony A5100 and Panasonic GM1.
Lab tests: Dynamic range
Dynamic range is the range of tones the sensor can capture. Cameras with low dynamic range will often show ‘blown’ highlights or blocked-in shadows. This test is carried out in controlled conditions using DxO hardware and analysis tools.
Dynamic range is measured in exposure values (EV). The higher the number the wider the range of brightness levels the camera can capture. This falls off with increasing ISO settings because the camera is having to amplify a weaker signal. Raw files capture a higher dynamic range because the image data is unprocessed.
JPEG analysis: The X-A2’s JPEGs have a much narrower range of tones than comparable files from the Sony A5100, Panasonic GM1 and Nikon D3300, but we’ve seen this many times before with Fuji JPEGs, which tend to have stronger mid-tone contrast for a more dynamic appearance.
Raw analysis: After conversion to TIFF the X-A2’s raw files have a much wider dynamic range than its JPEGs indicating that they contain many more tones and smoother tonal gradations.
Lab tests: ISO and noise
This is a test of the camera’s noise levels. The higher the signal to noise ratio, the greater the difference in strength between the real image data and random background noise, so the ‘cleaner’ the image will look. The higher the signal to noise ratio, the better.
JPEG analysis: The Fuji X-A2 has the best signal to noise ratio of the group, though the combination of an APS-C sensor and a relative low resolution (compared to the Sony A5100 and Nikon D3300) will help.
Raw analysis: The results from these cameras’s raw files are much closer, though the X-A2 is still near the top of the group, this time beaten – just – by the Panasonic GM1. It’s a solid performance from the X-A2, which confirms our real world findings that its raw files don’t suffer excessively from noise.
Verdict
It may be Fujfilm’s entry-level compact system camera (CSC), but the X-A2 has a high quality feel and a metal body. It’s also compatible with Fuji growing range of high quality lenses. It may not have the acclaimed X-Trans CMOS sensor of other X-series CSCs, but the 16.3Mp APS-C format CMOS sensor and the EXR Processor II engine put in a good performance and are capable of delivering high quality images.
The native sensitivity range of ISO200-6400 gives reasonable flexibility for those who want to shoot raw files, while those who are happy to shoot JPEGs (many of the target audience are likely to) will find that they can take things a bit further with a range of ISO100-25,600. I’d caution against using the uppermost value unless you are content to keep viewing or print sizes small.
Fuji’s new selfie-friendly automatic focusing option is useful for those who like taking pictures of themselves (doesn’t everyone?) and the fact that the new kit lens is capable of focusing at up to 15cm means that you don’t have to have super-long arms or a selfie-stick.
While there are similarities between the X-A2 and models further up Fuji’s CSC range, such as the X-E2, there are inevitable compromises in the specification to keep the price down. The most significant of these is the lack of a viewfinder.
We like
Although there are a few occasional slips, the X-A2 generally delivers high quality images that have pleasant colors and nice contrast. The autofocus system also usually gets subject sharp quickly and low sensitivity images have a good level of detail.
The tilting screen provides a nice clear view and when the Sunlight Mode is activated it’s possible to compose images even in quite bright sunlight. However, this can fool you into thinking that the images will be too bright and exposure needs to be reduced, so it’s important to keep an eye on the histogram view – not all novices will appreciate this.
As I’ve said before, I like the results produced using Fuji’s Classic Chrome Film Simulation mode a lot. They may not be 100% accurate, but they have a contemporary appearance and are ideal for lifestyle and portrait photography.
The X-A2’s control layout is generally good and both the main and Quick menus are easy to navigate and use. It would be nice to be able to customize elements of them, however, so they could be tailored to your own preferences.
We dislike
My biggest dislike about the X-A2 is that it doesn’t have a viewfinder. There are plenty of other compact and compact system cameras that don’t have a viewfinder, so it’s not especially unusual in this regard. However, viewfinders seem to be making a comeback in compact cameras, so we may be returning to a time when it is considered a fundamental part of a camera.
As well as giving you a better view of a scene in bright conditions, a viewfinder enables you to cut out surrounding distractions and immerse yourself in photography more effectively than you can when shooting on a large screen on the back of a camera.
That said, there are times when a screen, especially a tilting one like on the X-A2, or even better a vari-angle screen, is a real godsend – when you’re shooting from a low angle for example.
There’s no level display to show if the camera is at an angle or not, however.
Verdict
Fujifilm X-series cameras are premium models that generally appeal to experienced and enthusiast photographers. It’s great that Fuji hasn’t compromised significantly on the build of its entry-level compact system camera. The X-A2 feels very nice in the hand, the controls are responsive and easy to locate and image quality is good. If you’re not bothered about having a viewfinder, it makes a good first interchangeable lens camera.
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