It’s smaller and more affordable than the company’s flagship X-Pro 1, but the Fujifilm X-E1 still looks the part and uses the same 16.3-million-pixel sensor. Read the Fujifilm X-E1 review...
Currently, the X-E1 costs £450 less than the street price of the X-Pro1, and is available with the superb 18-55mm lens (priced separately at £600) for the same price as the body-only X-Pro1. Considering the similarities between the two, the X-E1 is a good-value option.
Key differences are the LCD screen and viewfinder. The EVF of the X-E1 is better than that of the X-Pro1 with improved contrast, but again it freezes during autofocus. With no option for an optical viewfinder, the X-E1 relies on its digital displays and the battery lasts for around 350 shots. This won’t cut it for a more demanding audience, so purchasing extra batteries is advisable. Providing a battery pack would perhaps be the best way to solve this issue.
Otherwise, for its intended audience – stills photographers – the X-E1 is a trendy, high-quality and good-value option. In the mirrorless camera market, the X-E1’s image quality is rivalled by the Sony NEX-7 and Fuji X-Pro1 alone. Furthermore, the X-E1, and indeed the X-Pro1, are backed up by a growing number of impressive X-mount lenses, so their appeal is likely to grow.
Fujifilm X-E1 – Key features
Unlike the X-Pro1, the X-E1 features a pop-up flash, and its catch is released using this button.
The built-in flash has a modest output of GN 7m @ ISO 200, which can be adjusted ±2/3EV and used as a forced flash, in rear-curtain sync or as a commander for external flash units.
As its name suggests, quick changes to the settings can be made through this menu. There are 16 exposure settings to choose from.
It is the first time that a camera in the Fuji X series has offered dioptre adjustment for the viewfinder, here at -4m to +2m.
The up arrow button of the four-way D-pad enters the macro mode menu. With macro enabled, the minimum focus distance improves.
Via the main menu, the multiple exposure mode can be selected. However, its functionality is
rather disappointing, offering a maximum two-exposure frame. There is manual control over the exposure of each frame, though.
In-camera raw conversion
Without needing a computer, changes to a raw file’s exposure, white balance, dynamic range, film simulation, sharpness and numerous other settings can be viewed on-screen and implemented in-camera.
A histogram, electronic level, exposure settings, framing guidelines (in grids of nine or
24, or HD framing), and AF and MF distance indicators are just a few of the settings that can be displayed on screen and via the EVF.