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Fujifilm X-S20

APS-C AF digital mirrorless camera

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Specification

Production details:
Announced:May 2023
System:● Fujifilm X (2012)
Imaging plane:
Maximum format:APS-C
Mount and Flange focal distance:Fujifilm X [17.7mm]
Imaging plane:23.5 × 15.6mm X-Trans CMOS IV sensor
Resolution:6240 × 4160 - 26 MP
Shutter:
Type:Focal-plane
Model:Electronically controlled
Speeds:900 - 1/32000 + B
Sensor-shift image stabilization:Yes
Exposure:
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics:
Weight:491g
Dimensions:127.7x85.1x65.4mm

Manufacturer description

TOKYO, May 24, 2023 – FUJIFILM Corporation (President and CEO, Representative Director: Teiichi Goto) announce the launch of the mirrorless digital camera “FUJIFILM X-S20” (X-S20) on June 29, 2023. It is a new addition to the X Series of mirrorless digital cameras known for their compact and lightweight body and superior image quality based on the company’s proprietary color reproduction technology. In its compact and lightweight body that has been well-received in previous model, the X-S20 features AI-based subject-detection AF and capability to record 6.2K/30P video. The X-S20 can take approximately 800 frames per charge with the use of the newly-adopted high-capacity battery and keeps operating for an extended duration of time, making it an ideal travel camera.

The X-S20 offers premium image quality and advanced portability, catering to a variety of shooting styles ranging from casual self-portraits to fully-fledged photography and videography.

The X-S20 is equipped with the back-illuminated 26.1MP sensor “X-Trans™ CMOS 4” and the high-speed image processing engine “X-Processor 5” to produce high-quality images. It features X-S Series’ signature large grip for hand-holding stability. The use of the new high-capacity battery has more than doubled the number of frames per charge to approximately 800 compared to that of the previous model. The compact and light body, weighing just 491g makes it comfortable to use even in long-hour shootings. The camera also features the five-axis in-body image stabilization (IBIS) mechanism that offers up to 7.0-stop advantage. The AI-based subject-detection AF, capable of detecting animals and cars, adds to its AF performance, equivalent to the fifth-generation X Series camera, FUJIFILM X-T5, for added mobility.

The X-S20 is equipped with high-performance video recording functions such as 6.2K/30P 4:2:2 10-bit video onto an SD card inserted in the camera. By installing the cooling fan FAN-001, the users can shoot 6.2K/30P video for up to 78 minutes. Also, with the adoption of a φ3.5mm microphone / earphone jack, the users can shoot fully-fledged video using external accessories. Furthermore, the new Vlog Mode makes it easy to produce a Vlog when the camera is combined with the tripod grip, “TG-BT1.”

Fujifilm will support users enjoy photography and videography in comfort by continuing to offer the X Series of mirrorless cameras with APS-C sensors, an extensive lineup of premium-quality lenses including the FUJINON Lens XF8mmF3.5 R WR, also released today, and the dedicated app, FUJIFILM XApp.

1. Product features

(1) Achieving high image quality and high-performance AF with the 26.1MP image sensor and the latest high-speed image processing engine

  • The X-S20 is equipped with the back-illuminated 26.1MP sensor “X-Trans™ CMOS 4” and the latest high-speed image processing engine “X-Processor 5” to produce high-quality images while keeping power consumption lower than the previous model.
  • The camera features the subject-detection AF, developed with deep learning technology, in addition to the existing Face and Eye AF. AI is used to add the ability to detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones. The AF system automatically tracks an intended subject while keeping it in focus, allowing users to concentrate on a shutter opportunity and framing. The evolved AF prediction algorithm enables stable focusing even in the AF-C mode.
  • The AUTO mode, which automatically selects optimum settings according to scenes, is complemented with the new AUTO Subject Detection function. It automatically detects a subject and tracks it while keeping it in focus, making it easy to produce high-quality stills and videos.
  • The X-S20 comes with 19 Film Simulation modes including “Nostalgic Neg.,” characterized by high saturation and soft tonality. Users can use Film Simulation presets to suit individual subject types and scenes, as if they are choosing photographic films.

(2) Incorporating high-capacity battery and high-performance IBIS mechanism into the compact and lightweight body for ease and comfort

  • The X-S20 features X-S Series’ signature large grip for hand-holding stability, while keeping the body compact and light, weighing just 491g.
  • The use of the new high-capacity battery, NP-W235, has more than doubled the number of frames per charge to approximately 800 compared to that of the previous model. Extended battery life means users can enjoy shooting without worrying about the remaining charge level, making the camera the perfect choice for extended all-day shooting or during travel.
  • The camera is equipped with the five-axis IBIS mechanism that offers up to 7.0-stop advantage. It makes it easy to shoot at night or in low-light conditions hand-held.
  • The X-S20 is equipped with a 2.36-million-dot EVF with 0.62x magnification as well as a 1.84-million-dot rear LCD monitor with the vari-angle structure, which can be positioned in a range of angles, making self-portraits easy. The camera can be combined with the tripod grip, TG-BT1, for Vlog production.

(3) 6.2K/30P video recording and other extensive video functions

  • The X-S20 can record 6.2K/30P 4:2:2 10-bit video onto an SD card inserted in the camera, and also supports extensive video functions including 4K/60P and 1080/240P capability.
  • The camera features F-Log2 for recording video in the expanded 13+ stop dynamic range for enriched tonality, providing creative freedom in post-production.
  • Up to 6.2K/30P 12-bit RAW video output is supported via HDMI. Use the ATMOS monitor “NINJA V+” to record Apple ProRes RAW and the Blackmagic Design monitor “Video Assist 12G” to record Blackmagic RAW.
  • The camera has a 3.5mm microphone / earphone jack for high expandability despite its compact and lightweight body. Furthermore, the new Vlog Mode has been introduced for Vlog production. Set the mode dial on the top panel to “Vlog” to change camera settings with a touch of a button for self-portraits.
  • Use a USB-Type C cable to connect the camera to a computer to use it as a webcam without having to use software such as FUJIFILM X Webcam. Film Simulation modes are available for live streaming or online meetings. Shooting settings can be adjusted even while the camera is connected to a computer.

2. Optional accessories

Cooling fan “FAN-001”*14 (already released)

This cooling fan can be attached to the rear panel of the camera body without a cable, supporting long hour shooting and video recording in a high-temperature condition. The power can be supplied to the fan from the camera body.

Tripod grip “TG-BT1”*15 (already released)

This grip enhances mobility and camera’s hold while adding tripod functionality. Users can comfortably take self-portraits and low angle shots, where it is normally difficult to hold the camera in position. As a tripod, the TG-BT1 can be used for a wide range of applications from group shots to tabletop still.

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Fujifilm X system cameras
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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.