The X-T30 III takes a different approach to manual exposure control versus most other cameras. Instead of using a PASM Mode dial like the Canon EOS R10, Nikon Z50II, Sony a6400, and other mainstream competitors, the X-T30 has a discrete dial to set shutter speed, similar to what you see on many old manual focus film cameras, along with an EV dial to brighten or darken the overall exposure. The EV dial goes from -3 to +EV in third-stop increments and has a C setting that cedes control to the front command dial. The top plate also includes a configurable Fn (Function) key and a shutter release button that’s collared by the on/off toggle. The front has a switch to swap between single, continuous, and manual focus. It all looks very retro, and you can even use a mechanical release cable to fire the shutter if you want.
(Credit: Jim Fisher)
Most (but not all) compatible lenses include an aperture ring, but the kit lens and other XC series do not, so with those, you’ll use the front command dial to set the f-stop. Likewise, you can use the rear command dial to set shutter speed if you prefer. It overrides the physical dial when it’s set to any position other than A (Auto) or B (Bulb), and works as a full-time control when the shutter is set to T (Time). Both front and rear dials have a push-in function too: The rear dial magnifies the frame as a focus aid, and the front dial swaps between aperture, EV, and ISO control. If you want to take a back seat and let the camera drive entirely, flick the switch that’s nestled into the side of the shutter dial to Auto.
The X-T30 III drops the drive dial from the X-T30 and X-T30 II in favor of a Film Simulation dial, a feature we’ve previously seen on the midrange X-T50 and the entry-level X-M5. The Film dial makes it easy to swap between several in-camera looks, all based on Fujifilm’s historic film stocks. It has dedicated slots for Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, and Acros, plus has three configurable slots (FS1, FS2, FS3) to leave you room to load a personal favorite or apply a recipe, Fuji’s term for a custom set of color, sharpness, dynamic range, white balance, color chrome, and grain adjustments. Between the built-in looks and customization, Fujifilm leads the industry when it comes to stylized options for images and video, and the Film Simulation dial makes it easy to swap between them. And while it’s not a directly related feature, the lever to open the pop-up flash is built into the side of the Film dial.
(Credit: Jim Fisher)
The top plate is a little crowded, so rear controls are scant in comparison. Drive/Delete and Play buttons are at the top left corner, while AE-L (exposure lock), the aforementioned rear command dial, and AF-L (focus lock) are on the right side, The viewfinder is in between; it has a View Mode button to switch between EVF, LCD, and eye sensor modes, along with a dial to tune the diopter to match your eyesight.
An eight-way joystick to navigate menus and adjust the focus area, Menu/OK, and Disp/Back buttons run down a column to the right of the rear display. Finally, there’s a Q button built into the raised rear thumb rest that launches the camera’s on-screen quick menu. The Q menu is configurable to suit your style, but by default offers sixteen settings, including file format and aspect ratio, ISO, film simulation mode, autofocus area and subject detection settings, screen brightness, and the self-timer, among others.
(Credit: Jim Fisher)
It’s worth taking the time to load your most-used settings in the Q menu simply because it can be a chore to find things in the full, multi-page text menu. Fujifilm hasn’t revamped it in years, and it’s frankly a little dense with 30 separate pages. In addition to Q, the full menu includes a configurable My Menu page that lets you save the settings you change most often for quick access. I wouldn’t mind if Fujifilm revamped its main menu to make it a little easier and more intuitive to navigate through, but the Q and My Menu pages offer enough flexibility to overcome its shortcomings.
The electronic viewfinder is just as good as in other cameras that cost around $1,000. The OLED panel shows a smooth, sharp picture, offering a preview of color effects and exposure. It has a 0.62x magnification rating and 2.4-million-dot resolution, just about the same as you get with the Canon EOS R10, Nikon Z50II, and Sony a6400. You’ll have to step up to a more expensive camera if you want a larger EVF. The Fujifilm X-T5 has the best you’ll find in an APS-C mirrorless camera, delivering a larger picture (0.80x) with more pixels (3.7 million dots).
(Credit: Jim Fisher)
And of course, there’s also a rear LCD with touch support. The 3-inch, 1.6-million-dot display tilts up and down on a single hinge, so it’s always centered behind the lens, but doesn’t swing out to the side and face forward like the screens on the Canon EOS R10 and Nikon Z50II. That’s a downer for the vloggers and selfie fans, but not a serious drawback for photography and videography shot from behind the camera. It comes down to a matter of personal preference and shooting style as to which you like—I’d rather have a simple up and down tilt screen as it makes it easier to line up a photo that’s plum and parallel to a subject, especially when working with a wide angle lens, which is something I put a higher priority on than self-recorded and images.
