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Fujifilm X-T20

APS-C AF digital mirrorless camera

Specification

Production details
Announced:January 2017
System: Fujifilm X (2012)
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Fujifilm X [17.7mm]
Imaging plane:23.6 × 15.6mm X-Trans CMOS III sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/32000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:383g
Dimensions:118.4x82.8x41.4mm

Manufacturer description

Valhalla, N.Y., January 19, 2017 – As the leader in innovation for photographers, FUJIFILM North America Corporation today announced the new FUJIFILM X-T20 interchangeable lens camera that joins the award-winning X Series digital camera lineup. The X-T20 is the successor to the FUJIFILM X-T10 and builds on its outstanding image quality, intuitive design, and versatility with a new APS-C sized 24.3MP X-Trans CMOS III sensor and X-Processor Pro image processing engine. The updated sensor and processor, along with an improved AF algorithm, boost the camera’s startup time and AF performance, dramatically improving its ability to track moving subjects for their best pictures to date. The X-T20 also has a large tilting touchscreen LCD monitor for multi-angle shooting and responds to quick gestures for a variety of efficient controls and picture review.

Also announced today is the new FUJINON XF50mmF2 R WR, a compact, mid-telephoto lens adding to the X Series lineup of interchangeable lenses known for their outstanding image quality. The lens features a focal length equivalent to 76mm (in the 35mm film format) and a maximum aperture of F2.0 for beautiful bokeh. The compact and stylish optic also offers high speed AF and weighs just 200g.

Advanced Imaging for the Discerning Enthusiast

The FUJIFILM X-T20 improves on the X-T10 with a 24.3MP X-Trans CMOS III sensor and a new Video option to the Drive Dial to enable instantaneous switching from still photo shooting to the video recording mode. The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops, while the LCD monitor uses a tilting touchscreen panel for intuitive operation at almost any angle. The X-T20 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera chooses the optimum settings for a given scene.

The new sensor’s enhanced signal processing technology has even greater control over digital noise with an improved ISO sensitivity of ISO12800 available as a regular ISO option. At ultra-high ISO settings, the camera produces low-noise images, with deep blacks and smooth tones, delivering beautiful images even in low light conditions.

The FUJIFILM X-T20 also has a Grain Effect function for reproducing distinctive graininess seen in photographs taken with film cameras. The function can be set to Strong or Weak, and can be combined with any of the Film Simulation modes. You can easily obtain the look of film-based photos, with the effect most obvious when the image is printed out.

Photo enthusiasts will find the very best image results made possible by Fujifilm's proprietary color reproduction technology, developed through producing photographic films, that helps to reproduce warm skin tones, bright blue skies and rich green foliage, just as you remember seeing in real life.

Compact and Lightweight Body Makes Photography Fun and Easy

With the FUJIFILM X-T20, users will find a compact body that is both strong and light and made from magnesium alloy. The top plate features three precision-milled aluminum dials which give the X-T20 a premium feel and allow users to easily adjust the aperture, shutter speed and shooting functions while concentrating on picture taking.

The X-T20 features a 3.0 inch 1.04M-dot tilting TFT color LCD touchscreen monitor for both above head and close to the ground shooting. By combining the Touch Shot function with the tilt LCD monitor, you can get even more creative. Place the camera on the ground and use Touch Shot for a child’s face or a pet’s eye view, or hold it above a crowd of people or an obstacle for high-angle shooting.

Easy Touch, Swipe and Pinch Controls

The LCD monitor in the X-T20 uses a capacitive touchscreen panel to facilitate high-angle shots, taken from above a crowd of people or an obstacle, as well as low-angle shots simulating the ground level perspective.

Users can also opt to use the LCD monitor as a touchscreen to easily access shooting and playback modes. When shooting with the X-T20, you can use the touchscreen to select the focus area, focus on a specific point, and combine the actions of focusing and shooting in succession.

For playback, users can enjoy swipe to scroll through images, double-tap to enlarge, drag the image once enlarged, along with pinch-out and pinch-in sizing.

Improved AF Performance for Moving Subjects

The FUJIFILM X-T20 has an expanded number of focusing points, up from 49 in the previous model to 91 (up to 325 points). Approximately 40% of the imaging area (the center area containing 49 focusing points) is covered with phase detection AF pixels to form a fast and precise phase detection AF area that can be used in a variety of scenes.

By redesigning the AF algorithm from the ground up, the X-T20 can now autofocus more accurately on points of light, low-contrast objects and subjects with fine details such as bird feathers and animal fur. The read speed of the Contrast AF system has been doubled compared to the previous model to enable faster and more accurate autofocusing. During video recording, the AF point transitions smoothly to track a moving subject to create natural looking footage.

Users can choose from a Single Point mode, useful when accurate focusing on a subject is required, and a Zone mode that allows them to select a 3x3, 5x5 or 7x7 zone out of the 91-point AF area. The centrally positioned 3x3 and 5x5 zones, in particular, deliver fast focusing thanks to the on-sensor phase detection AF. The Wide/Tracking mode is a combination of the Wide mode (during AF-S), in which the camera automatically identifies and tracks the area in focus across the 91-point AF area, and the predictive Tracking mode (during AF-C), which uses the entire 91-point area to continue tracking a subject. This feature enables continuous focusing on a subject that is moving up and down, left and right or towards and away from the camera.

The X-T20 features an AF-C Custom setting, which enhances focus tracking performance when shooting in the Continuous AF (AF-C) mode. In the AF-C Custom setting, users can choose from five AF presets, including:

  • Preset 1 (Standard Setting for Multi-Purpose) is a standard setting that can be applied when shooting moving subjects as a whole. It is similar to the conventional AF-C setting, and is selected by default when no AF-C Custom setting is specified.
  • Preset 2 (Ignore Obstacles & Continue to Track Subject) is suitable when obstacles are likely to come into a selected focus area, blocking a subject.
  • Preset 3 (For Accelerating / Decelerating Subjects) is best suited to situations such as motorsports, which involves a subject that makes major speed changes including rapid acceleration or deceleration. It is particularly effective when using linear motor-driven lenses capable of high-speed AF.
  • Preset 4 (For Suddenly Appearing Subjects) gives focusing priority to a subject closest to the camera in the selected focus area, so as to swiftly focus on a subject that suddenly comes into the frame.
  • Preset 5 (For Erratically Moving & Accelerating or Decelerating Subjects) is suitable for shooting field sports in which subjects accelerate or decelerate rapidly, and also move erratically.

FUJIFILM X-T20 Key Features:

  • 24.3MP APS-C X-Trans CMOS III sensor
  • X-Processor Pro
  • Start-up time of 0.4sec
  • Ultra-fast AF speed of 0.06sec
  • Offers 5.0fps live-view shooting
  • Shutter time lag of 0.050sec
  • Shooting interval of 0.25sec
  • 3.0 inch 1.04M-dot tilting TFT color LCD touchscreen monitor
  • 0.39 inch 2,360K-dot OLED color viewfinder
  • Live View Display to preview pictures where you can
  • New ACROS Film Simulation mode
  • AF-C Custom Settings with five AF-C presets
  • 4K video can be recorded at [3840 x 2160] 29.97p, 25p, 24p, 23.98P, 100Mbps
  • Continuous recording: up to approximately 10min
  • Full HD video can be recorded at 59.94 fps, 50 fps, 29.97 fps, 25 fps, 24 fps and 23.98 fps, and with Film Simulation effects
  • Video can be outputted to external monitor via the HDMI port and input audio from an external microphone
  • Easily connect to external HDMI monitor and turn on HDMI Rec Control to automatically enable a clean HDMI output when the camera’s shutter release button is pressed
  • Touch AF to change the focus area and refocusing according to subject movement functions in video recording
  • 24 high-performance FUJINON X-mount lenses for ultimate versatility
  • Integrated pop-up flash with Super Intelligent Flash to automatically adjust light output
  • Unique Lens Modulation Optimizer (LMO) image processing technology to deliver the best possible image quality
  • LMO corrects optical defects such as diffraction to achieve edge-to-edge sharpness and a realistic three-dimensional effect
  • Nine Film Simulation modes (including ACROS) and Advanced Filter functions for eight different artistic effects
  • Multiple Exposure function combines two separate subjects into one photo
  • Interval timer shooting for time lapse photography
  • intervals of one second to 24 hours, and up to infinity frames
  • Completely silent electronic shutter capable of exposures up to 1/32000 seconds.
  • Digital Split Image for precise manual focusing and Focus Peaking to highlight high-contrast areas of the subject
  • Eye Detection AF function for automatically detecting and focusing on human eyes
  • Auto Macro function automatically activates the Macro mode while maintaining AF speed, eliminating any need to press the Macro button to capture a close-up
  • Built-in Wi-Fi for shooting from your smartphone or tablet devices
  • Free FUJIFILM Camera Remote app for Remote Control function
  • Photos can be sent directly from the camera to the Instax SHARE Smartphone Printer for instant Instax prints
  • Wi-Fi® Transfer is supported, enabling wireless backup of the data to a computer

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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Cannot compare the lens to itself.

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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

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.