These simulations aren’t Instagram gimmicks and are often used by pro photographers. If you’d rather not muck around in Lightroom, they’ll give you a great, consistent look, in-camera.

If you’d rather shoot with RAW and apply your own looks or treatments, Fujifilm’s 14-bit RAW files give you plenty of data to work with. Below ISO 6400 or so, you can dig into shadows to find detail, and pull extra notes out of overly bright skies.

Video

I’ll try to make it extra clear: The X-Pro3 isn’t designed for video. You can’t see the rear screen without flipping it down, and it won’t go down more than 90 degrees when mounted on a tripod or gimbal. That issue also makes it impossible to vlog with it, too. And remember that there’s no HDMI port, so you won’t be able to use an external display, either. Finally, unlike the X-T3, it lacks 10-bit video recording.

It’s not all bad, though. If you’re willing to use the EVF or OVF, it does deliver full-sensor 4K with downsampling, focus peaking and even F-Log capability. That’s enough to let you shoot some good-looking video in a pinch. You’ll get very sharp 4K video and accurate colors, and I had some fun shooting video with the Acros black and white and Velvia film simulations, too. In fact, if I were shooting video with this camera, I’d probably use the Acros and Eterna simulations all the time and just not do any color correction.

Still, there’s no point in getting this camera if you do any serious amount of video. For that, just get the X-T3, which is the best APS-C camera for video right now — and cheaper, too. On top of that, if you’re also into street photography as well, the X-T3 is an excellent choice as it handles well and has the same sensor as the X-Pro3.

Wrap-up

It’s hard to assign a score to a camera like this because it’s clearly for a very narrow group of buyers. It has very unique features, like the optical viewfinder, not found on any other cameras. Nevertheless, the X-Pro3 is an expensive camera, so I’m going to try to compare it as fairly as possible.

It’s not a very practical camera. While the odd rear display does help you concentrate, you could argue that you’d get nearly the same thing by buying an X-T3 and just turning the rear display off. The optical viewfinder might be a bit faster, but it would take a lot of practice to really master it. As for video, it’s just not very practical on the X-Pro3.

Dispassionate scoring aside, I had a lot of fun using this camera, and it’s refreshing to see that Fujifilm is trying to do something different rather than just ticking the usual specification boxes. In the end, it actually succeeds. The elegant rangefinder design, wonky rear display and OVF worked as advertised. By removing distractions, the X-Pro3 forced me to focus on taking pictures. And thanks to Fujifilm’s color science and simulations, I was very happy with the photos I took.

For most folks, however, I’d recommend the X-T3, or if you want to go full frame, get Sony’s A7 III for around the same price. However, if you’re looking for a camera like this and have $1,800, you probably already want it — and no review is going to change your mind.

If that’s not weird enough for you, another selling point is the upgraded optical/electronic hybrid display. In rangefinder mode, you’re looking through an optical, rather than an electronic display. Because it’s offset from the lens, your subject will always appear at the wrong size and angle. Once you get used to it though (and use the parallax aids), you can theoretically shoot more quickly. If you’d rather an electronic view, it transforms into a fast and clear 3.69-million dot, 200 Hz OLED EVF.

Otherwise, the X-Pro3 specs line up with recent Fujifilm models. Like the X-T3, it has a 26.1-megapixel X-Trans4 sensor and quad-core X-Processor 4 imaging engine. Fujifilm has yet to mention the total number of autofocus points, but it said that the AF will function in near pitch darkness at -6 EV, matching or even beating what Nikon’s full-frame Z 6 can do. As with the X-T3 and other X-Trans4 models, it should shoot well in low light, with an ISO range of 160-12,800 or 80-51,200 (expanded).

While the X-Pro3 will give pro photographers maximum control, it’s also using smartphone-like AI tricks to make things easier. The new HDR mode will automatically capture multiple shots and marry them in-camera “to produce an increased dynamic range in the image when compared to standard photo capabilities,” the company told Engadget. At the same time, the feature works “without causing exaggerated amplification of color tones.”

You get the usual array of (excellent) film simulations like Velvia, Eterna and Monochrome, but with the X-Pro3, Fujifilm has introduced two new ones: Classic Neg. and Monochromatic Color. The latter lets you choose a key color from a palette of warm/cool or magenta/green hues to give photos a personal touch. And if you really want to fine tune the look of photos, you can now adjust shadows and highlights on the tonal curve.

On the video side, it can’t match the 60fps, 10-bit 4K of the X-T3 because it’s really not designed for that. Still, you get up to DCI 4K (4,096 x 2,160) video at 30 fps or 1080p at 120 fps max. The display flips down 180 degrees, but because it’s tilted backwards (for that whole “stay in the moment” thing), you can’t really use it for vlogging or selfies. There’s a 2.5mm microphone port, but no headphone jack.

As a nod to its target professional users, the X-Pro3 is extensively weather-sealed, has titanium top/bottom plates and uses “cold plasma” tech for a scratch-resistant finish on the “Dura” models. That makes it “one of the most durable camera bodies in Fujifilm camera history,” the company said. Other features include a single SDXC UHS II memory slot and USB-C 3.1 Gen1 slot.

This is not a camera for everyone, but it’s a strong draw for serious photographers with specific needs. The Fujifilm X-Pro3 will go on sale in late Fall 2019 for $1,800 in black, or $2,000 in Dura Black or Dura Silver.

Control-wise, the Z 50 is stripped down a bit compared to the Z 6 and has no joystick, but it does feature a control wheel, two top control dials, two function buttons and a main function dial. Overall, the ergonomics look good for such a small camera, with a nice mix of menu-driven and manual controls.

As for the battery, Nikon is using an all-new 1,120mAh type called the EN-EL25, and is promising 280 or 320 shots on a charge with and without the EVF, respectively. The single storage slot supports slower SDXC UHS I cards. That’s too bad considering that Canon’s new M6 Mark II supports UHS II, which delivers triple the speed.

On the performance front, Nikon says that the Z 50 can shoot bursts at up to 10 fps, both in mechanical and fully silent electronic shutter modes, which matches most of its rivals. Furthermore, it can hit those speeds with continuous AF and auto-exposure enabled.

It comes with a 207-point phase-detect autofocus system, complete with AI powered eye-detection. On the video side, the Z 50 can handle 4K video with a full sensor readout, just like Sony’s A6400 and the Fujifilm X-T30. In comparison, Canon’s M6 II only does 4K with an annoying 1.5 times crop that makes it tough to vlog or shoot in tight spaces.

As for ISO speeds, you can shoot in low-light at up to ISO 51,200, expandable to ISO 204,800, which is not bad at all for a crop-sensor camera.

Those are the specs, but I also had a chance to use it for a bit at Nikon’s event. Despite the smaller size, the Z 50 means business thanks to that protruding grip. It’s almost comically large compared to the size of the camera and gives you a vice-like hold on it. I really liked the Z 6’s ergonomics, and the Z 50 is similar, albeit with fewer buttons and no joystick. So far, I’d rank its ergonomics as best in class, followed by the Canon M6 II, Fujifilm X-T30 and Sony’s A6400, in that order.

You will need to dive into the menus more often because of the lack of buttons, but Nikon’s menu system is better than what Sony and Canon offer, though a bit below Fujifilm. Thanks to the logical layout, I was able to find all the functions I needed and never got lost. You can also use the touch-operated function menu to do most common chores. You should be able to avoid using the full menu completely for the most part if you set up the manual controls the way you like.

I was impressed with the burst speeds and autofocus performance. At full RAW and JPEG quality, I could fire off 10 fps bursts for nearly 40 shots before the buffer filled up. It only took a few seconds before I was ready to fire again, but to keep that time down, Nikon suggests you use a fast memory card.

While shooting those bursts, I changed from subject to subject to see if the autofocus could keep up. It did for the most part, but wasn’t as quick as Sony’s otherworldly AF system. The face and eye-detect system seemed nearly lag free, and kept up with subjects even when they turned around or momentarily went out of view.

During a quick test, I found that images yielded natural-looking colors. 4K, 30 fps video quality also looked good, with no signs of aliasing and crisp, accurate color reproduction. The Z 50 can handle 1080p at up to 120 fps, and even lets you record audio at that high framerate, unlike the Sony A6400. Unfortunately, Nikon didn’t let me keep any of the photos or videos I shot with the pre-production unit I tested, so I can’t share the results.

All told, the Z 50 looks promising so far, keeping pace with rivals and topping them when it comes to handling. It arrives next month and will cost $860 (£849) for the body only, $1,000 (£990) with the Nikkor Z DX 16-50mm f/3.5-6.3 VR lens and $1,350 (£1,200) with both that lens and the DX 50-250mm f/4.5-6.3 VR lens. Nikon UK is also offering the body, DX 16-50mm and FTZ F-mount lens adapter for £1,130, while Nikon USA may unveil a similar deal later. Nikon also revealed that its incredible high speed, manual focus Nikkor Z 58mm f/0.95 S Noct lens will cost a cool $8,000, which I’m assured is a deal for such a fancy piece of glass.

Meanwhile, the Z 50’s prices should appeal to serious amateurs, especially if they have some Nikon glass lying around. So far, I think the Z 50 holds its own against rivals, but we’ll have to reserve judgement until we can publish a full review.

With an entry-level price, the M200 is aimed at smartphone users who want to upgrade their photo powers. As such, it has the same body as the M100, with the same button layout, pocket-friendly size and pop-up selfie screen. Physical controls are minimal, so the camera settings are largely controlled from the flip-up touchscreen.

With an identical sensor to the M100, the M200 should also deliver the same excellent image quality as before, with accurate colors and detailed RAW images. Canon’s Dual Pixel autofocus is well-liked for its accuracy, both for photos and video, but eye-detect AF will make it a lot easier for novices to use. Canon has also increased the number of selectable AF points from 49 to 123.

The M200 can now do 4K video at 24 fps, but only with a 1.6 times crop. Combined with the 1.6 times APS-C crop, that means the 15-45mm kit lens effectively becomes a 38-115mm lens in 4K mode. That heavily limits its usefulness as a vlogging camera. Like Canon’s PowerShot G7 X Mark III compact, it can shoot vertical video, however.

Still, extra features on the EOS M200 will make it a tempting budget option, especially given Canon’s relatively inexpensive M lens lineup. It will arrive in October in black and while for $549 (£499) with an EF-M 15-45mm F4.5-6.3 IS STM lens.

For video, the X-A7 can now handle 4K at 30 fps rather than being hobbled at 15fps like the last model, and Fujifilm said it has less rolling shutter, too (a possible jab at Sony). 1080p shooting speeds are limited to 60 fps, however. The ISO range runs from 100-12,800, though it can be expanded to ISO 25,600.

With a small, attractive rangefinder body that weighs just 455 grams with a lens attached, the X-A7 will be easy to pack around. And while the X-A5 had a pop-up screen for selfies, the X-A7 has a fully-articulating touch display, making more useful not just for vlogging and selfies, but other types of shooting as well.

The screen is also the primary way to adjust settings for the camera, as the rear of the camera doesn’t have many physical controls. By touching, tapping or swiping, you can change screen brightness, film simulation, and other effects.

Other features include Fujifilm’s “Bright Mode” scene recognition tech, which applies HDR and other tricks to create bright, vivid images without the need for any fiddling. This is the kind of automatic mode that smartphone shooters are used to, so Fujifilm clearly thought this would be an important feature for novices who might buy an entry-level camera.

The Fujifilm X-A7 will cost $700 with a Fujinon XC 15-45mm f/3.5-5.6 OIZ PZ kit lens when it arrives in the US on October 24th. If you’re looking to stand out a bit from the crowd, it comes with mint green and “camel” color options, along with the usual silver and dark silver. You’ll also be able to get it in “navy” in some regions.

If you’ve ever held one of Sony’s APS-C mirrorless shooters, the A6600 and A6100 will feel quite familiar. They’re slightly lighter and less bulky than, say, the full-frame, 61-megapixel A7R IV, which is great for photographers or videographers who would rather carry around a more compact body — and, most importantly perhaps, who aren’t looking to spend a few thousand dollars on a camera. To complement the A6600 and A6100, Sony also announced two E-Mount lenses, the E 16-55mm F2.8 G and E 70-350mm F4.5-6.3 G OSS. One of the A6600s that was at the event here in NYC was paired with the new super-telephoto zoom, and I do have to say it looked a bit odd on such a small body — though that doesn’t mean it won’t take solid, crispy photos.

We’ll have more on Sony’s new APS-C mirrorless cameras soon, but for now you should know the A6600 will be $1,400 (body-only) when it hits stores in November, while the A6100 is set to arrive in October for $750 (body-only). The E 16-55mm F2.8 and E 70-350mm F4.5-6.3 G OSS glass, on the other hands, are going to cost you $1,400 (October) and $1,000 (November), respectively. With these, Sony’s now bringing the total number of native E-Mount lenses to 54, which gives it further advantage over competitors like Canon, Nikon and Panasonic.

The A6600 packs 425 phase-detect points, enabling real time eye-tracking in both photo and video mode for humans and animals. It can also track focus on any moving object in real time. It’s interesting that Sony has stuck to the same resolution sensor as the one on the last model, considering that Canon just went upmarket with the new 32.5-megapixel M6 Mark II.

You’ll be able to track things all day, as the A6600 has an all-new battery, letting you grab 720 shots on a charge, nearly in DSLR territory. Naturally, Sony has thought of video shooters, as the A6600 can handle 4K video and has a 180-degree tiltable rear touch display for vloggers. We’ll have more details in an upcoming hands-on post, but the A6600 will arrive in the US in November for $1,400, or $1,800 with an 18-135mm kit lens.

Should that be too rich, Sony also unveiled a successor to the A6000, the Alpha A6100. It offers many of the same features as the flagship, including the 24.2-megapixel sensor, 425 phase-detect points, 0.02 focus and 11 fps shooting speeds, 4K video and 180-degree tiltable touch screen. It looks like pretty sweet budget vlogging machine, and will the US by October for $750 or $850 with a 16-50mm lens, or $1,100 with a 55-210mm lens.

The EOS M6 Mark II can shoot at up to an impressive 14 fps, and 30 fps in “RAW burst shooting mode,” thanks to the new sensor and Digic 8 processor, the video notes. Visually, it looks much like the original EOS M6, but has a multifunction dial in place of the last model’s exposure compensation dial. It features has a pop-up selfie/vlogging screen and an external electronic viewfinder like the M6.

The EOS D90 DSLR, meanwhile, can handle 10 fps shooting and should do continuous AF shooting well thanks to the 45-point all-cross-type autofocus sensor. It packs an optical viewfinder with 100 percent coverage, and is dust- and water-resistant, according to the video. You can get it with an optional battery grip that packs a corner-mounted shutter release for shooting in a portrait orientation.

The videos don’t reveal the release date or the price, though given they came from an official Canon source, we’re likely to learn those details soon.