Fujifilm Introduces the X-M1 and Two New X-Series Lenses


Fujifilm has just announced a three-part update to their X Series of mirrorless digital cameras and lenses: the X-M1 digital camera, the XF 27mm f/2.8 lens, and the XC 16-50mm f/3.5-5.6 lens. These additions to the system add even greater breadth to this expanding line of tools while following the blueprint that has led to success with the existing X-series cameras and lenses.


The X-M1 Mirrorless Digital Camera features the same imaging performance as the X-Pro1 and X-E1, and as such, incorporates the 16.3 megapixel APS-C X-Trans CMOS sensor upon which they have built their system. This sensor’s design features a modified RGB color array that works to inherently reduce moiré and false colors without the need for an optical low-pass filter. The sensor utilizes a 6 x 6 patterned group of pixels, compared to a standard 2 x 2 Bayer array, in order to induce greater randomness in the way light is gathered by the sensor. This results in imagery that exhibits smoother overall quality with high image sharpness that is reminiscent of the grain structure of film.

Making use of this system, the X-M1 is able to record still imagery in JPEG and RAW file formats, as well as full HD 1080p video in the MOV file format. When working with RAW files, you can process them in-camera to help expedite the post-production workflow while still achieving the malleability of a RAW file. Fujifilm X-series cameras incorporate a host of Film Simulation modes that are designed to emulate the look and feel of existing Fujifilm film types, to help achieve a unique look directly in-camera. Provia is the standard film look, and provides rich, vibrant saturation with neutral colors and contrast; Velvia is the more vivid setting, which adds a bit more punch and contrast to colors to give an eye-catching look; and Astia is the soft setting, which lowers the image contrast slightly and provides a neutral and well-rounded appearance. Also available are monochrome and sepia settings to provide results akin to traditional black-and-white film.

When working with moving subjects, a full-resolution continuous shooting rate of 5.6 fps can be used, or a slightly slower 3 fps rate. Either mode enables up to 10 RAW frames to be captured in a burst, or 30 or 50 JPEG frames, respectively. When recording movies, both full HD 1920 x 1080p and HD 1280 x 720p are available at 30 fps. Stereo sound is recorded along with the movies, and use of manual exposure control is possible for refining the look of recordings.

Exposure metering is handled by a 256-zone TTL system for acquiring precise exposure results using multi, spot, or average methods. Manual exposure controls are available in program, aperture priority, shutter speed priority, or manual settings, all of which can be selected using the top dial. Additionally, for intelligent, automated control over the exposure setting, SR Auto (automatic scene recognition) can be employed to analyze the lighting conditions and apply the optimal exposure settings for a natural appearance.

Similarly, focusing can be effectively controlled using a TTL contrast-detection AF method or by using manual focus. The AF system uses a 49-point array with a scalable AF frame size and can focus using area, multi, continuous, and tracking methods. The tracking and continuous focusing modes are especially well suited to working with video or fast-moving subjects, while the area and multi modes are ideal for working with more stationary subjects when greater precision is required. If working with manual focus, focus peaking is available to provide a more objective means for comparatively focusing along the lines of contrast in the frame. When using this, hard edges will be demarcated by highlighted lines that are only present in sharp focus, helping to acquire focus quickly and accurately.

All of these imaging technologies are housed in a retro-styled metal camera body that incorporates manual top control dials and a large 3.0” 920k-dot tilting LCD monitor. The tilting mechanism of this display enables easier viewing from high and low angles for live view monitoring, image playback, and menu navigation. Also helping to smooth the camera-function process is the Quick Menu, which is accessible via the rear Q button. This menu system provides a simple and abbreviated layout for quick manipulation of some of the most oft-used camera controls—such as adjusting the sensitivity between ISO 200-25600; selecting between seven different white balance settings; changing file size or aspect ratio; and for controlling dynamic range, AE, Film Simulation, or sensitivity bracketing—without having to delve into the larger menu tree. A built-in pop-up flash is available for providing additional exposure to scenes or, additionally, a traditional hot shoe is incorporated into the design to permit the use of off-camera flash with TTL exposure control.

Finally, a new technology for X-series cameras has been integrated into the X-M1: built-in wireless connectivity. This added feature permits instant transferring and sharing of images directly to Android and iOS mobile devices or to a wirelessly connected computer. When using the Fujifilm Camera App on either mobile system, you are can browse the files on the camera and transfer up to 30 images at a time between the camera and mobile device. This connectivity also provides an automatic backup service to your home PC through the use of the included Fujifilm PC AutoSave software.

The X-M1 is available as a body only in black, silver, and brown, or in a kit with the new XC 16-50mm f/3.5-5.6 OIS lens in black, silver, and brown.

Image Sensor APS-C (23.6 x 15.6mm) X-Trans CMOS with primary color filter
Total Pixels 16.5MP
Effective Pixels 16.3MP
Sensor Cleaning System Ultra Sonic Vibration
Storage Media SD, SDHC, SDXC memory cards (including UHS-1)
Still Image File Format JPEG (Exif Ver 2.3), RAW (RAF), RAW+JPEG
Movie Format File format: MOV
Compression: H.264
Audio: Linear PCM Stereo
File Size 3:2
L: 16 MP: 4896 x 3264
M: 8.0 MP: 3456 x 2304
S: 4.0 MP: 2496 x 1664
L: 13.5 MP: 4896 x 2760
M: 6.7 MP: 3456 x 1944
S: 3.5 MP: 2496 x 1408
L: 10.7 MP: 3264 x 3264
M: 5.3 MP: 2304 x 2304
S: 2.8 MP: 1664 x 1664
Lens Mount Fujifilm X-mount
Sensitivity Auto, ISO 200-6400 (expandable to ISO 100-25600)
Exposure Control TTL 256-zones metering: Multi, Spot, and Average methods
Exposure Mode Programmed AE, Shutter-Priority AE, Aperture-Priority AE, Manual
Exposure Compensation +/-2 EV in 1/3 steps
Mode Dial Advanced SR AUTO/P/S/A/M/C/Portrait/Landscape/ Sport / SP(Scene Position)/Adv./AUTO  
Shutter Type Focal plane shutter
Shutter Speed 30-1/4000 sec., bulb (up to 60 min.)
Advanced SR AUTO mode: 1/4-1/4000 sec.
Flash Sync Speed Up to 1/180 sec.
Continuous Shooting Up to 5.6 fps (JPEG: max. 30 frames, RAW/RAW+JPEG: max. 10 frames)
3.0 fps (JPEG: max. 50 frames, RAW/RAW+JPEG: max. 10 frames)
Auto Bracketing AE or ISO bracketing: 1/3, 2/3, or 1 EV
Film Simulation bracketing: 3 types of film simulations selectable
Dynamic Range bracketing: 100%, 200%, 400%
Focus Mode Manual, Area AF, Multi AF, Continuous AF, Tracking AF, Face Detection
Focus Type TTL contrast AF (AF assist illuminator available)
Autofocus Frame Selection Area AF (49 areas with 7 x 7), changeable AF frame size
White Balance Auto, Custom, Fine, Shade, Fluorescent light (Daylight, Warm White, or Cool White), Incandescent light
Self-Timer 10- or 2-sec. delay
Built-In Flash Type Super Intelligent manual pop-up flash; guide number: 23' / 7m at ISO 200
Flash Modes Red-eye removal off: Auto, Forced Flash, Suppressed Flash, Slow Synchro, Rear-Curtain Synchro, Commander
Red-eye removal on: Red-Eye Reduction Auto, Red-Eye Reduction and Forced Flash, Suppressed Flash, Red-Eye Reduction and Slow Synchro, Red-Eye Reduction and Rear-Curtain Synchro, Commander
Red-eye removal is active when Face Detection is set to ON
External Flash Connection Hot shoe; dedicated TTL flash compatible
Monitor 3.0" 920k-dot tilting TFT-LCD monitor with approx. 100% coverage
3:2  aspect ratio
Movie Recording 1920 x 1080 or 1280 x 720 at 30p
Maximum Movie Clip Length 1080p: Approx. 14 min.; 720p: Approx. 27 min.
Film Simulation Modes

Provia (Standard), Velvia (Vivid), Astia (Soft), Monochrome, Sepia

Dynamic Range Setting Auto (100-400%), 100%, 200%, 400%
Advanced Filters Toy camera, Miniature, Pop color, High-key, Low-key, Dynamic tone, Soft focus, Partial color (red, orange, yellow, green, blue, purple)
Additional Settings/Functions Setting (Color, Sharpness, D-range, Gradation), Multiple exposure, Depth of Field display, Histogram display, Framing guideline, Frame No. memory, Monitor Sunlight mode, Focus Peak Highlight, Date stamp, Fn button setting, PictBridge, Exif Print, Language selection, Time difference, Quick start mode, Silent mode
Wireless Connectivity IEEE 802.11 b/g/n (standard wireless protocol)
Access mode: Infrastructure
Wireless functions Geotagging setup, Image transfer (Individual image/Selected multiple images), View and Obtain Images, PC Autosave
Playback  functions RAW conversion, Image rotate, Auto image  rotate, Red-eye reduction, Photobook assist, Erase selected frames, Image search, Multi-frame playback (with micro thumbnail), Slide show, Mark for upload, Protect, Crop, Resize, Favorites
Interface USB 2.0, HDMI mini  (Type C, output), Remote release terminal for optional RR-90
Power Supply NP-W126 rechargeable lithium-ion battery (included)
Start-Up Time Approx. 0.5 sec. when QUICK START mode is ON
Approx. 1 sec. when QUICK START mode is OFF
Operating Temperature 32-104°F / 0-40°C
Operating Humidity 10-80% (no condensation)
Dimensions 4.6 x 2.6 x 1.5" / 116.9 x 66.5 x 39mm
Weight 11.6 oz / 330 g (with battery and memory card)
9.9 oz / 280 g (camera only)

XF 27mm f/2.8 R and XC 16-50mm f/3.5-5.6 OIS Lenses

The new XF 27mm f/2.8 R lens is a compact, pancake-style lens that provides a 35mm equivalent focal length of 41mm, making it just slightly wider than normal. This versatile focal length is ideal for working in everyday situations. The f/2.8 maximum aperture is apt at controlling focus and benefits low-light shooting. The main asset of the lens is its inconspicuous form factor; it measures just 0.9” thick. When paired with an X-series camera, the entire system is lightweight and unobtrusive. The Fujinon optical construction integrates one aspherical element into its design, which helps to minimize aberrations and reduce the overall weight and size of the lens. This design also works to promote higher overall sharpness and clarity.

This lens is available in the standard black or in a new silver finish.

The XC 16-50mm f/3.5-5.6 OIS lens is a newly designated standard kit zoom lens that provides a 35mm equivalent focal length of 24-76mm, covering wide-angle to portrait-length perspectives. It incorporates an OIS (optical image stabilization) system to help minimize the appearance of camera shake when working in difficult lighting situations or with greater magnifications. The optical design of this lens incorporates three aspherical elements and one extra-low dispersion element to minimize chromatic aberrations, distortions, and color fringing throughout the zoom range while also contributing to high image sharpness.

Both of these lenses feature Fujifilm’s proprietary X-mount for full compatibility with the X-series interchangeable lens cameras. This lens mount is specifically designed with a short flange distance, wide mount opening, and deep lens setting in order to ensure consistent, even illumination and sharpness across the entire image sensor. Each lens features all-glass elements and Fujinon Super EBC coating technology for high color fidelity, optical clarity, and maintained contrast.

For more information, stop by the B&H SuperStore in New York, speak with a sales professional on the telephone at 1-800-606-6969 or contact us online via Live Chat.

  Fujifilm XF 27mm f/2.8 R Fujifilm XC 16-50mm f/3.5-5.6 OIS
Focal Length 27mm 16-50mm
35mm Equivalent
Focal Length
41mm 24-76mm
Maximum Aperture f/2.8 f/3.5-5.6
Minimum Aperture f/16 f/22
Angle of View 55.5° 83.2°-31.7°
Focusing Range Normal: 2’ / 60cm to infinity
Macro: 1.1’ / 34cm to infinity
Normal: 2’ / 60cm to infinity
Macro (W): 1-32.8’ / 0.3-10m
Macro (T): 1.3-32.8’ / 0.4-10m
Image Stabilization No Yes
Lens Construction 7 elements in 5 groups (with 1 aspherical element) 12 elements in 10 groups (with 3 aspherical elements and 1 extra-low dispersion element)
Number of Diaphragm Blades 7 7
Maximum Magnification 0.1x 0.15x
Maximum Reproduction Ratio 1:10 1:6.7
Filter Size 39mm 58mm
Dimensions 2.4 x 0.9" / 61.2 x 23mm 2.5 x 2.6" (W); 3.9" (T) / 62.6 x 65.2mm (W); 98.3mm (T)
Weight 2.75 oz / 78 g 6.9 oz / 195 g


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To bad that there is no optical or electronic viewfinder. How do I hold the camera steadily and firmly to my eye? How do you steady a camera that is held at arms length?


As someone who learned to shoot with a Fuji rangefinder many years ago, I too find these viewfinderless camera designs puzzling. Still many mirrorless customers prefer the smaller designs omitting the VF offers while maintaining a large LCD.

With the larger XC 16-50mm f/3.5-5.6 OIS lens, the optical image stabilization system will help minimize the appearance of camera shake. One advantage DSLR's have over film I have found is you can shoot at much higher ISO's and still maintain good image quality. I very often shoot at ISO 1250 and find it similar to ISO (ASA) 400 speed film.

This camera cannot be held up to your eye. You could try an optical shoe mounted viewfinder, but these will only at best come close to the area coverage of the lens and not show you any camera information including most importantly where the camera is focusing.

When shooting off the LCD, I have found bending my arms and not holding the camera straight out is most effective, pressing my elbows into my lower chest.

Left off to keep cost down I'm sure. They have other models if that is a requirement. One thing that you could do in a pinch is use one of those LCD diopters that many use when shooting video on DSLR's...Snaps on the back of the LCD.

Just a thought.

You took the words right out my mouth.

If a viewfinder is a must, take a look at the X-Pro 1 or the X-E1. This camera is geared a bit more toward the enthusiast..