The highest resolution APS-C sensor yet and 8K Pro Res video.
The X-H2S from Fujifilm is the best and most costly APS-C camera to date. But it was not finished. Today, we’re examining the 40-megapixel X-H2, its stablemate. It has the greatest APS-C resolution ever manufactured and outstanding video capabilities.
It is the first APS-C mirrorless camera to support 8K video, and it can capture 15 frames per second in RAW at full resolution. Additionally, it provides better focusing with new AI subject identification, improved in-body stabilization, and more.
Even while it costs $500 less than the X-H2S at $2,000, an APS-C camera still costs a lot of money. In light of this, I was curious to see if it truly outperformed competitors like Canon’s $1,500 32.5-megapixel EOS R7 and even how it compared to somewhat more expensive full-frame cameras like the Sony A7 IV or original Canon EOS R6.
Body and handling
The X-H2 and X-H2S are visually identical, but for the “S” emblem painted on the front of the X-H2S. Even the weight is same to the X-T4 at 660 grimes, maybe a little bit more. It’s not quite a pocketable street camera like other Fuji models because that is close to full-frame.
The X-H2 lacks the several dials that the majority of Fujifilm cameras have for shutter speed, ISO, and exposure compensation. Instead, it has front and rear dials, a mode selector, a joystick, and a D-pad control, more akin to Canon, Sony, and Nikon models. It does have a top screen that shows aperture, shutter speeds, and other important information as a compliment to street photographers who shoot from the hip.
Fujifilm X-H2 review
I’ve never been a big fan of the traditional Fujifilm layout because it’s not good for video, but I know that many Fuji lovers don’t.
I particularly adore the 3-inch, 1.5 million dot fully articulating display since it makes taking low- and high-angle pictures and selfies much simpler. The display on the new X-T5, which has the same 40-megapixel sensor, can only be tilted. The 5.76-million dot, 120Hz EVF, on the other hand, provides blackout-free photography in silent electronic shutter mode and is nicely sharp.
The X-H2 contains a high-speed USB-C port with power delivery, as well as microphone and headphone interfaces, just as its namesake. A full-sized HDMI port is also included, which should be more reliable than the clumsy micro-HDMI ports found on competing cameras. That was a wise move on Fujifilm’s part because external RAW video is a crucial component of this camera.
Given the higher resolution, the battery life is marginally worse than the X-H2S, with 680 shots per charge as opposed to 720. Additionally, it offers slots for both high-speed CF express and UHS-II memory cards. The latter is necessary for recording high-resolution Pro Res video and to lessen buffering while taking bursts of 15 frames per second at 40 megapixels.
High-resolution cameras are typically among the priciest types. The 26.2-megapixel X-H2S, however, is actually more expensive than the 40-megapixel X-H2. This is due to the sensor’s layered design, which increases speeds and decreases rolling shutter when filming silently.
However, the X-rolling H2’s shutter doesn’t significantly affect picture quality. With full-resolution RAW bursts up to 15 fps as opposed to 13 fps, it is actually quicker in mechanical shutter mode than electronic shutter mode. Given that it is more focused on speed than on detail, that is astounding.
Furthermore, the mechanical shutter is among the quietest I’ve ever heard, so you won’t require silent mode very often. Additionally, a rolling shutter is available for fast-moving subjects if you absolutely need it, but it’s surprisingly well-controlled. It performs far better than comparable APS-C cameras like the Canon EOS R7 and Sony’s A6600.
The focusing system is also able to keep up with burst speeds. It adheres tenaciously to targets, providing a respectable hit rate even when they move swiftly. However, it’s not nearly as accurate as Sony’s AF, especially when the light level is low.
The X-H2 includes new AI intelligence similar to the S model and can track birds and animals in addition to automobiles, motorbikes, scooters, planes, and trains. Over earlier models like the X-T4, face and eye identification has also significantly improved, enabling seamless and reliable subject tracking.
I’d certainly choose the X-H2S over the X-H2 for sports and wildlife, as the stacked sensor lets you shoot at an awesome 40 fps. Sony and Canon’s latest cameras beat them both, though, as they have superior AI and the autofocus is smoother and more reliable. Still, the X-H2 offers good autofocus and burst performance considering the high resolution.
Additionally, the 7-stop in-body stabilization performed admirably, enabling me to take handheld sharp photos down to around a quarter second. And if 40 megapixels isn’t enough, you can use a tripod and Fuji film’s Pixel Shift Combiner function to capture images with 160 megapixels.
Although the 40-megapixel X-Trans backside-illuminated sensor on the X-H2 is not stackable, it is a brand-new, cutting-edge sensor. And in terms of image quality, it truly performs well.
The more pixels firstly provide you greater detail, which is advantageous if you need to crop in or create large prints. In spite of this, higher ISO settings in low light do not degrade image quality. If the exposure is set properly, photos can be used up to ISO 12800 because noise is well-controlled at ISO 6400.
JPEG and 10-bit HEIF files processed in-camera are of the highest quality, with pleasing, true colors and a perfect balance of noise reduction and detail. Often, I didn’t need to develop images if I wanted to share them straight away.
The X-H2 can capture 14 bits of color in RAW images that are uncompressed, lossless, or compressed. That provides lots of flexibility for fine-tuning, whether in light or dark environments. Noise, however, can go out of control if you underexpose images while attempting to enhance levels. Of course, this is one of the biggest disadvantages of APS-C sensors in comparison to full-frame sensors.
Of course, the X-H2 delivers the complete set of film simulation options from Fujifilm. While maintaining a full-color RAW backup, you can experiment with well-known looks like Velia, Eterna, or Arcos black and white. I adore them even though they aren’t for everyone.
The additional speed and lessened rolling shutter of the X-H2S make it the best APS-C camera for video. But there are a few areas where the X-H2 excels. Along with super sampled 6.2K 16:9 (no 3:2) and super sampled 4K HQ at up to 30 fps, it offers you a higher resolution of up to 8K at up to 30 frames per second. With some clarity loss, subsampled 4K can also be captured at up to 60 frames per second, while 1080p supports super slow-mo. at 240 frames per second.
Three 10-bit Pro Res codecs—HQ, regular, and LT—can be used to save files in all of these resolutions. In comparison to the 8-bit and 10-bit H.264 and H.265 codecs, these provide higher quality and are simpler to edit. Additionally, customers have a choice between high quality and more manageable, smaller file sizes thanks to the three options. However, because they require large data rates, with a peak of gigantic 3,520 MPs, you must record them to fast CF express cards.
Although processing is done at 12-bit rather than 14-bit as with the X-H2S, the latter offers a little bit better dynamic range. F-Log and F-Log2 picture modes are also available. Additionally, for more durable files that are simpler to edit later, you can save either Pro Res or Blackmagic RAW video to Atomos or Blackmagic external recorders at up to 8K.
I have plenty of room for imaginative color correction and shot modifications even with ordinary Pro Res or H.265. On the X-H2, color reproduction promotes accuracy with pleasing and true skin tones. Noise becomes an issue beyond ISO 6400, however shooting at ISOs lower than that is still possible.
Similar to the S model, other Fujifilm cameras now have considerably better autofocus, but it still lags behind Canon and Sony. Although it mostly maintained focus, it occasionally lost it. Eye and face tracking was accurate, but bird and animal tracking was frequently unpredictable.
Due to the X-lack H2’s of a stacked sensor, rolling shutter is a bigger problem than it is with the X-H2s while shooting video. With complete shutter readouts at 8K, 6.2K, and 4K HQ, it is extremely noticeable. Shooting items that move quickly across the screen will cause a fair degree of skew, so you’ll want to be careful to prevent fast pans. Even so, it’s much better than on Sony’s A6600 and other APS-C cameras, and not quite as horrible as I had anticipated.
With the X-H2, overheating can be a problem while shooting at 8K, however Fujifilm hasn’t specified exactly how long you can do so. However, if you intend to do that, you may purchase a tiny fan that screws to the rear to enable 8K filming for an extended period of time.
The in-body stabilization is actually only useful for handheld, stationary footage, as is the case with most cameras. Even with the electronic aid turned on, watching videos while vlogging or performing other quick movements can cause jolts.
After examining both of Fujifilm’s most recent cameras, I believe that the X-H2 is a better choice for the majority of people due to its superior value. It provides the perfect compromise between image quality and speed, although not being as quick as the X-H2S. Additionally, if you need the clearest and finest definition video possible, that is preferable for video.
However, $2,000 is a lot to pay for a crop-sensor camera. You may spend $500 less on the EOS R7 APS-C camera from Canon or get a full-frame camera like the $2,100 Canon EOS R6. It’s also difficult to compete with Fujifilm’s own $1,700 X-T5, which features manual knobs that many brand devotees like and utilizes the same 40-megapixel sensor.
Even so, the 8K, RAW output, completely articulating screen, and other features make it a superior video camera than the A7 IV, EOS R6, and X-T5. The X-H2 will probably cost you less over time than any full-frame camera because to Fujifilm’s extensive lineup of lenses, which are far less expensive than full-frame glass.