In the Field: Fujifilm X-Pro 3 vs X-Pro 2 for Sports Photography

Sports documentary photographer Dan King has plenty of experience shooting cycling events. After many years using the mirrorless 2016 Fujifilm X-Pro 2, Dan took the 2019 Fujifilm X-Pro 3 for a spin while covering Dutch professional bicycle racing team Jumbo Visma in Tenerife, Spain, and Strade Bianche in Tuscany, Italy. Read on to learn more about the Fujifilm X-Pro 3 and how it performs for cycling and sports photography. Over to you, Dan.

I consider myself, first and foremost, a sports documentary photographer. I don't consider myself an action photographer, by any means. I thrive in the chaos of being close to athletes while they experience their happiest and most challenging moments. I don't seek to capture their athleticism at lightning speed during competition. It's often before or after the event—the build-up, then the post-win celebrations—in which I get most excited. I intend to give my audience a perspective within the moment. The Fujifilm X-Pro 2 has been by my side over the last few years. However, since the launch of the newer updated X-Pro 3, I kept thinking about whether I should upgrade.

Aside from the never-ending need for more camera gear, my main reasons for wanting to try the Fujifilm X-Pro 3 was the slightly faster shutter and autofocus. The X-Pro 3 shoots 11 frames per second compared to 8fps on the X-Pro 2. I wasn't sure whether I really needed this upgrade as I tend to shoot and pan the fast stuff on a slow shutter.

I like how this technique creates the feeling of movement, especially when I want to portray speed in my images. However, the 8fps on the X-Pro 2 has often left me with a tight crop. It's important to me that my images are level. So, after I've straightened the image, I often think, “If only the rider had been to the left a little”. I hoped that those extra few frames per second would allow me to hold the subject closer to the centre of the frame.

While the autofocus speed on the X-Pro 2 isn’t quite as fast as the Fujifilm X-T5 I've never really had an issue with the X-Pro 2 autofocus. However, with the APS-C sensor not having the low-light ability of my Leica Q2, I was wondering if the improved autofocus on the X-Pro 3 would give me something I didn't know I was missing— particularly in low-light areas like team buses or hotel rooms.

To put the Fujifilm X-Pro 3 to the test, I took the camera with me to Tenerife. I was covering Jumbo Visma’s training camp as they undergo early-season altitude training and try out equipment and nutrition. This environment allowed me to play with the camera under less pressure and to understand its strengths and weaknesses. Over the course of a couple of days, the cyclists’ routine was quite consistent. I was often able to get the same opportunities more than once.

After Tenerife, I headed to Italy to shoot the Strade Bianche race. Strade Bianche is notorious for its white gravel roads. In dry weather, these roads can transform into clouds of dust. When it’s raining, the dust forms a white glue-like plaster that can cover your camera gear, the cyclists and their bikes. Both scenarios make for great photos. If you want to put the pressure on, you can’t beat a race environment. When cyclists are flying past, you just don't get the chance to retake a shot.

The Fujifilm X-Pro 3 has a fourth-generation X-Trans 26.1-megapixel sensor, while the X-Pro 2 has a third-generation X-Trans 24.3-megapixel sensor. The X-Pro 3 features a slightly lower minimum ISO of 160, compared to 200, with the maximum ISO remaining the same across both models. The later model also includes an articulating touchscreen and more autofocus points (425 vs. 325). 

Each camera in the X-Pro series is compact. Especially with the WR primes mounted, it’s a great setup that you can tuck in under the arm and wander around unnoticed. Perfect for documentary work. The Fujifilm X-Pro 3 rear screen now has the ability to flip over, revealing a small screen that shows only the essentials. For me, this is great. I don't actually use the rear screens on my cameras, I just use the electronic viewfinder to save battery. This feature also means I don’t accidentally touch the screen and change settings without noticing.

As of last summer, I now mostly shoot with the camera set on a black-and-white simulation—but I still shoot in RAW too. This not only simplifies my shot choice but also removes any emotion of colour at this stage. As I am colour blind—to greens and reds—I've found this really helps with any negative impacts I might have got from the look of the scene. I know that I can just hunt the light and composition of my shot. 

The Fujifilm X-Pro 3 is a great camera and it's a nice upgrade on the X-Pro 2. If I didn't already own an X-Pro 2, I’d be sure to jump right in with the X-Pro 3. If you are looking for a second body, or you don’t already own an X-Pro series camera, then the X-Pro 3 would be my choice.

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This article is part of the MPB Guide to Sports Photography, our comprehensive look at how to create sports photography, with camera recommendations, advice and interviews with experts.