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Fujifilm X-T30 II

APS-C AF digital mirrorless camera

Specification

Production details
Announced:September 2021
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:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:378g
Dimensions:118.4x82.8x46.8mm

Manufacturer description

TOKYO, September 2, 2021 – FUJIFILM Corporation (President: Teiichi Goto) is pleased to announce that it will gradually launch the “FUJIFILM X-T30 II” (X-T30 II) in late September 2021. It is a new addition to the X Series of mirrorless digital cameras known for their compact, lightweight body and superior image quality based on the company’s proprietary color reproduction technology.

The X-T30 II renewed the software while inheriting the compact and lightweight camera body, popular with the mirrorless digital camera “FUJIFILM X-T30” (the previous model), and delivers an advanced level of AF speed and precision and image quality equivalent to the X Series’ flagship model, “FUJIFILM X-T4” (X-T4). The X-T30 II has also evolved from the previous model in terms of hardware, as seen in the use of a high-resolution 1.62-million-dot LCD monitor on the rear panel. It enables comfortable shooting of high-quality stills as well as full-scale 4K/30p video.

The X-T30 II is a mirrorless digital camera that features a 26.1MP “X-Trans™ CMOS 4” *1 sensor and a high-speed “X-Processor 4” image-processing engine in a compact and lightweight body that weighs approximately 378g*2 to produce premium-quality images. The camera offers a fast and accurate AF system that has the focusing speed as fast as 0.02 seconds and also boasts exceptional ability to track a moving subject. It can autofocus even in near darkness conditions at -7.0EV*3 to accurately capture a subject in nightscape photography or indoor photography with low light.

The X-T30 II comes with a total of 18 Film Simulation modes, including “Classic Neg,” ideal for snapshots, and the low-saturation and high-contrast “ETERNA Bleach Bypass,” which produces impressive atmosphere. The expanded lineup allows users to enjoy a diverse range of color reproduction styles. The algorithm for “AUTO” mode has been updated to easily produce beautiful pictures by automatically identifying the type of shooting scenes and applying the optimum shooting settings.

Furthermore, the camera features functions that deliver smooth 4K/30p video with rich tonality as well as high-speed full-HD video at 240p, and is fitted with a high-resolution 1.62-million-dot three-inch tilting touchscreen LCD monitor, helping users capture stills and videos alike with ease.

Fujifilm will continue to deliver the wonder and joy of photography with the X Series including the new X-T30 II, GFX Series of large-format sensor cameras and an extensive lineup of interchangeable lenses that now added the new large-diameter wide-angle prime lens “FUJINON Lens XF23mmF1.4 R LM WR” and the large-diameter standard prime lens “FUJINON Lens XF33mmF1.4 R LM WR,” both announced today.

1. Product features

(1) Fast and highly accurate AF that attains focus in as fast as 0.02 seconds to capture a decisive photo opportunity

  • The X-T30 II is equipped with the 26.1MP “X-Trans™ CMOS 4” sensor and the high-speed image processing engine “X-Processor 4” to enable fast and accurate AF of up to 0.02 seconds, equivalent to the AF speed of the X Series’ flagship model “X-T4.” Phase detection pixels are placed across the sensor surface (approx. 100% coverage) to attain focus accurately even on a subject away from the center of the frame, ensuring to capture a decisive photo opportunity.
  • The AF system uses the latest algorithm to achieve improved AF ability for tracking a moving subject compared to the previous model. It can precisely track a subject that is moving toward and even moving away from the camera. Its Face / Eye AF function keeps a subject’s face / eyes in focus even in portrait photography that involves subject movements, making portraiture easy.
  • The camera can also autofocus accurately in near darkness conditions at -7.0EV, enabling nightscape photography or indoor photography with low light.
  • The camera delivers blackout-free burst shooting*4 at up to 8fps in the mechanical shutter mode and up to 30fps in the electronic shutter mode.

*4 High-speed continuous shooting free from blackout, in which the viewfinder blacks out, causing the photographer to lose sight of a photo subject. This is only available when the camera is in the electronic shutter mode.

(2) Fujifilm’s unique Film Simulation modes and evolved AUTO function to deliver exceptional image quality

  • The X-T30 II comes with a total of 18 Film Simulation modes including “Classic Neg,” based on color negative films typically used in snapshots, and “ETERNA Bleach Bypass,” which faithfully simulates the film processing technique of bleach bypass. The expanded lineup allows users to enjoy a diverse range of color reproduction styles, as if choosing a different photo film that suits each situation.
  • The algorithm has been updated for “AUTO” mode, which determines the type of a shooting scene based on information such as the presence of persons, colors and brightness and automatically adjusts shooting settings accordingly, and the “SP (Scene Position)” mode, which allows users to choose shooting settings based on the type of a scene. The Color Chrome Effect (blue), Clarity, D Range and other settings can be automatically adjusted to make it easy to produce clear and vivid landscape photographs or portraiture that makes the main subject stand out. Even in back-lit situations, the camera can deliver premium-quality images with minimal highlight- and shadow-clippings.

(3) Extensive video-recording functions

  • The X-T30 II uses the amount of data equivalent to 6K to generate 4K video to assure high resolution with minimal noise. The camera can output 4K/30P video at 8 bit 4:2:0 onto an SD card, and 4K/30P video at 10 bit 4:2:2 to HDMI.
  • Furthermore, it now supports full-HD 240P high-speed video, capable of replaying a momentary action of a fast-moving subject in slow motion in up to 10x.

(4) Excellent operability for comfortable shooting

  • The camera features the Shutter Speed Dial on the top panel to enable fully manual shooting. The dial allows users to check a current setting visually, so that they can prepare for the next shots even while the camera is turned off. The Auto Mode Selector lever is also provided for a quick activation of the AUTO mode for added operability.
  • On the rear panel is a high-resolution 1.62-million-dot tilting 3-inch touchscreen monitor, which provides clear live-view images for checking a photo subject, making it easier than ever to shoot stills and videos.

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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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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.