Fujifilm enters the high-end compact camera market with its premium FinePix X10, a model that makes the style and class of the company’s X-series more affordable

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Fujifilm FinePix X10


Fujifilm FinePix X10 review


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White balance and colour

White balance has a button on the rear of the camera through which auto, seven presets (of which three are for fluorescent light and one is for underwater), custom and Kelvin for the full 2,500-10,000K colour temperature scale can be accessed. The EXR sensor uses a different colour filter array to the standard Bayer arrangement, and promises strong colour rendition. For most images, it is difficult to notice any benefit to this in standard mode capture.

In reality, and like most systems today, auto white balance (AWB) can be relied upon in most situations for a fairly accurate colour rendition. Scrutinise the images from the X10 more closely, however, and on the whole AWB can be a tad cool, especially in tungsten light. In overcast light I took a range of photographs of the same scene using the Kelvin scale and then compared them with AWB, which I found to be a little cool and had a slight magenta cast.

For any scene where a dominant colour can throw the system it is worth using the dedicated setting, be it shade WB on a cloudy day or daylight WB in sunlight. This is especially the case for portraits, where a cool rendition can be a little unflattering. On the whole, though, none of this is unusual for any camera system, be it DSLR, CSC or compact, but it is just good practice to remember.

As is standard for Fuji now, colour settings like vivid have film simulation names, such as Velvia. Black & white users will appreciate the four monochrome settings of yellow filter, red filter, green filter and standard black & white. Those learning photography should find the on-screen guidance helpful, which suggests a red filter for enhanced contrast and darkened skies, for example. Film simulation bracketing allows a simultaneous Velvia (vivid), Provia (standard) and Astia (soft) capture. In its standard (Provia) mode, colours are natural, while the vivid setting gives some welcome punch.

Image: On this dull overcast day, the vivid (Velvia) colour setting adds some welcome punch to the autumnal scene

  1. 1. Introduction
  2. 2. Features
  3. 3. EXR sensor
  4. 4. Build and handling
  5. 5. White balance and colour
  6. 6. Metering
  7. 7. Noise, Resolution and Sensitivity
  8. 8. Autofocus
  9. 9. LCD, Viewfinder and Video
  10. 10. Dynamic range
  11. 11. Verdict
  12. 12. Competition
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