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Reader Question: Sony Versus Fujifilm

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6/28/16: Slightly updated on 6/28/16 to reflect my acquisition of the Fujifilm X-Pro2  (B&H | Adorama) and a few other things.

Today I am sharing  another reader question and my response. This one came from “Greg” in a response to a post on my Facebook page:

Hi Dan, have heard good things about the Fuji cameras. Have also heard good things about the SONY cameras. Both are mirrorless, but the SONY is a full-frame while the Fuji is APC/1.5X. Is there a reason you would choose the Fuji over the SONY – you indicated in the article you have been using the  X-Pro1 and will be moving up to the  X-Pro2… Illuminate me on the subject

That is a great subject to consider, Greg. Both Sony and Fujifilm are making some very fine mirrorless cameras these days, but for my purposes the Fujifilm is a better fit than, say, the Sony a7R II full frame mirrorless camera that Greg is thinking of. (Small correction: I have not been using the X-Pro1. I have used the X-E1 for the past three years and I now use the X-Pro2.)

Before I explain, I must acknowledge that the Sony is an excellent body, and another photographer may well find it to be the best choice for his/her needs. The Sony a7R II is, as you point out, a full frame body and the current version has a 42MP sensor rather than a 24MP sensor. The sensor is known for its low noise and excellent dynamic range. Sony has some native lenses, but lots of folks are using their Sony cameras with a range of third party lenses, including those from their Canon and (now) Nikon DSLRs.

So, with all of those positives, why Fujifilm?

For me, the mirrorless camera is an adjunct to my DSLR system. (My DSLR is the Canon 5DsR, a 51MP camera with outstanding image quality.) I primarily use the mirrorless body for street photography and travel photography, where its smaller size (and the consequential smaller lenses) is a distinct advantage. And because I do those kinds of photography handheld rather than using a tripod, there is little or no advantage in the higher MP sensor of the Sony. In fact, the images from the 16MP Fujifilm sensors produce beautiful 18″ x 24″ prints, and even larger is possible with the 24MP sensor.

The Fujifilm lenses are another real plus. When I first bought into this system I was not aware of the quality of the lenses. However, when I started photographing with the 35mm f/1.4 (52mm equivalent) I was knocked out by the image quality it produces. I get the same quality from my 14mm f/2.8 and 23mm f/1.4, and my 55-200mm zoom is also a fine performer — though I am replacing it with the 55-140mm f/2.8 zoom

Related to the lens issue, not only are the Fujifilm lenses excellent, but there is a full range of them available from Fujifilm and they fully integrate with the cameras without adapters. See list at the end of this article. (Adapters are available for those Fujifilm photographers who want to use non-Fuji lenses, too.) Sony offers some native lenses now, but there are gaps in the Sony line-up. It is quite possible to use a wide range of third party lenses with the Sony camera, but this requires adapters and, in some case, introduces some AF compromises and other issues.

In the end, we are fortunate to have so many excellent options these days — virtually all of which have achieved a performance level that makes them effective picture-making tools. We can focus on acquiring equipment based on functional performance and fitness that best fits the way we shoot, whether it comes from Fujifilm or Sony or someone else.

Related articles.

 

Cameras/bundles

Accessories

Prime Lenses

Zoom Lenses

  • XF10-24mmF4 R OIS — B&H | Adorama
  • XF16-55mmF2.8 R LM WR — B&H | Adorama
  • XF18-55mmF2.8-4 R LM OIS — B&H | Adorama
  • XF18-135mmF3.5-5.6 R LM OIS WR — B&H | Adorama
  • XF50-140mmF2.8 R LM OIS WR* — B&H | Adorama
  • XF55-200mmF3.5-4.8 R LM OIS — B&H | Adorama
  • XF100-400mmF4.5-5.6 R LM OIS WR — B&H | Adorama
  • XC16-50mmF3.5-5.6 OIS II — B&H | Adorama
  • XC50-230mmF4.5-6.7 OIS II — B&H | Adorama

Teleconverters (compatible with 50-150mm and 100-400mm lenses only )

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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
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